Cinematic in scope and delicately constructed, the album grows from warm, organic techno (‘Persona’) through ambient electronica (‘Dreamer’s Wake’) to the insistent synths, drums and drones of ‘Hidden’. Lovely stuff.

It’s a worthy project, one that demonstrates to the listener just how much METZ crushed from day one before reminding them that they haven’t stopped crushing it since.

The pace is infectious and small helpings will sweeten your day.

At the centre of Panic At The Disco’s best album yet is Urie himself. The charisma and eccentricity of the front man, matched by his jaw-dropping vocal acrobatics sees Urie finally become the ringmaster of his own circus.

Apollonia is for fans of Jamie xx, Tame Impala, and SBTRKT, and all its elements have been combined and thoughtfully arranged in a way that makes sense. A solid debut for Garden City Movement.

With a plethora of guest spots adding some serious variety to the already sonically multifarious album, hearing Big Boi go back and forth with the likes of Kurupt, Snoop Dogg, Eric Bellinger, and even Adam Levine of Maroon 5, makes it all the more fun.

Davidson has easily transitioned between dim clubs and big festivals and learned to balance her acerbic ‘existential pop’ with hard-nosed techno. Drawing on the former, ‘Renegade Breakdown’’s appeal is in some ways broader, but she also risks putting off some of the initiated. On the whole, it functions as a reminder of the virtues of going against the grain and not playing it safe.

It has moments of great assurance, where drums, strings, and vocals are heavily foregrounded, making it perhaps the most solid or opaque soundscape of the band’s entire career. ... And whilst it is doubtless an exciting prospect to finally hear the work in full and professionally produced, the elusive nature of this work has now dissipated.

The resulting album, on which she’s joined (as ever) by the brilliant Bobb Bruno, is an irresistibly upbeat tribute to self-care, reflection, and the joy of the everyday.

Impulsive, instinctive and infectious, the eccentric and emotional Ørsted walks an enchanting tightrope.

Over its twelve tracks, the listener is taken down the proverbial rabbit hole as Grzegorz Kwiatkowski's hypnotic and repetitive lyrical attack lulls you along. This isn't an album that grabs you by the collar, but rather builds tension and release as it lures you through the dark thickets of your mind.

His latest LP is an endearing collection of slow-burning, dreamy arrangements, which find the singer wistfully contemplating the shifting nature of identity.

‘Social Lubrication’ carries all the raw, essential components of what make Dream Wife such a well celebrated act while remaining remarkably self-assured and polished, even if the trio don’t greatly expand on their recognised formula.

Perhaps surprisingly, Adrian Thaws' Tricky schtick has yet to get old, with the only missteps on this, his ninth, album arriving when he conforms to, rather than resists, convention. Where it's good however, it's superfly.

Originally whittled down from 40 songs Williams had penned from a jumble of sample-led ideas, You’re Welcome nonetheless features Wavves proverbial fuzzy guitar distortions and surf vibes, but includes his explorative forays into ‘70s psychedelia from South America, Cambodian pop and his obsession of ‘50s doo-wop.

Ultraviolence marks real progression: never has Del Rey sounded so compellingly crystalline on a set of recordings. Thematically, though, tracks can appear content to splash in the shallows.

Billie Marten delivers a pragmatic album that explores the equilibrium between her positive and negative outlooks on life, whilst confirming that being preoccupied with our own contemplation is and will forever be an ongoing process of the human condition.

‘Not Your Muse’ is not a revolutionary album, but every track is a more than enjoyable listen.

‘Heavy Like A Headache’ takes the musical intricacies that The Ninth Wave are cherished for into new territories. Lyrically, this is The Ninth Wave’s strongest album yet – they’ve never been more open about themselves as artists.

The act-to-act cohesion is seamless, as is the recreation of rigid techno militancy, and should be met with at least one bouquet brought to the stage.

While they felt the need to force the issue, beneath those jarring, incongruous riffs lies some rock ‘n’ roll of the purest kind.

It’s precisely this collection’s dry, detached, robotic angles that appeal.

While offering more of the same, nevertheless does it with sparkle and verve.

It’s her vocal prowess that threads together the line-up of producer-du-jour types that feature on For All We Know. That, and the infectious grooves that dominate this album provide endless enjoyment--18 tracks worth, to be precise.

Here they've created a retro cinema soundtrack to an '80s sci-fi romance.

So, while Robyn shows that her body can certainly do the talking, when it comes to walking the walk she's prone to stumbling in directions she should avoid.

Rock-hard and sloppy in equal measure, Boy King is a creature of base instinct from a band of high intellect more used to drawing their songs from their frontal lobes than their testes (even if their lyrics often suggest otherwise).

Organic, intimate and well worth adding to anyone's collection. Grab that jumper and enjoy.