A slimmed down project that is over before you feel it really hits its stride, it exists in an uneven nether space that continues Robyn’s legend in some ways and takes some of the shine off it in others.

Closing the album out, it becomes clear that Moonchild Sanelly takes a more reflective approach to the project, one that is undoubtedly her strongest to date.

Sometimes they feel almost too airbrushed, with Mabel playing it a little too safe to qualify being described as wholly original or progressive. There are moments of talent and flair, but it would’ve also been refreshing to hear more personality (and less autotune). Nevertheless, it’s an album that contains some real highlights.

Refined, and dangerously decadent.

Stereophonics don’t have the lyrical potency of their earlier incarnation, often erring on the side of grand generalisation--as is the way when you have to appeal to enough people to fill your next arena tour. But frontman Kelly Jones has got one of the damn finest voices in rock ‘n’ roll, and that’s surely worth the price of admission in itself.

A singular experience, ‘Island Family’ is unsettling at first, until the listener begins to relax into the world Pictish Trail has prepared. An attempt to discuss familiar experiences in an unfamiliar way, it’s a rewarding, groundbreaking insight into his life, one that retains a playfully experimental edge in the process.

Rolling Blackouts Coastal Fever have produced an album that dangles a carrot of the possibilities of exploration at the time of the impossible, but they are absolutely better off for doing so.

A fine goodbye filled with easy charm and style.

Irrespective of how you choose to approach it, the final installment of the trilogy that Hansen began back in 2011 fully underlines his strength, deftness and creative dexterity as a producer.

Tracks like ‘Swamp and Bay’ bring us punchy indie rock, and ‘Hoax and the Shrine’ give us woeful nursery rhyme acoustics befitting to a reflective train ride in a coming-of-age film. A development for Girlpool, and one of sheer enigmatic bliss.

Lyrically the album does what pop music does and creates a vibe but doesn’t necessarily encite any thought or, challenge the listener and the rest of the album from this point feels quite disconnected as we navigate out of the Afro-R&B with a feature from Rema on ‘Compromise’ to Nigerian highlife with lead single ‘Afro Highlife’ and reggae rhythms on ‘Having Fun’.

On ‘Anatomy’, her second album, Potter delivers a collection of songs whose meanings are never clear. Are they about relationships, the planet, films distilled into three minutes? It’s this lack of clarity that makes ‘Anatomy’ so enjoyable.

Stuffed & Ready is more of Cherry Glazerr’s successes: the album is raw, desolate, and affecting.

Uplifting, invigorating ‘The Resurrection Of Rust’ offers a warm boost down memory lane in one way, while the modern times filter gives the record intricacy, and it is one to check out.

Perhaps too slick for some, the Crowded House catalogue has never been afraid to be open. Maybe that’s a fault, but there’s certainly nothing wrong with a slice of innocence and songwriting purity in a landscape so smothered with irony.

The choice to make the album half fun, half sincere was a smart one, and the admirable trait of honesty through hardship definitely deserves praise.

Their subtle blend of kraut-funk, atmospherics and hushed vocals works, but at points several tracks pass by and you realise you haven't noticed anything.

Although a rather formidable theme, NNAMDÏ delivers his most succinct and capital P pop album yet.

Designed as much for the dance floor as smoke-filled bedrooms, this album is a window into the mind of a producer refusing to be defined by, or reduced to, a singular style.

In the end, LP 2 is the sound of a band taking everything that’s worked so far and refining it with style, taste and precision.

PINS still have a long way to go, but they've essentially done what few bands achieve on their second album: made a record more focused and measured while retaining rawness and negating the use of effusive production.

FFS manage to combine all the characteristics of what makes each band appealing but the record never veers too close to Franz Ferdinand territory and neither does the supergroup fully embrace the experimental side of Sparks.

There are thoughtful beats and thoughtful words here, complementing each other instead of overpowering one another.

Interspersed among the cheerful speed anthems are pretty, delicate moments that highlight the enduring songwriting bond that prevails between Eugene Kelly and Frances McKee.

As a project ‘Jack In The Box’ feels personal. It is refreshing to see J-hope experiment with genres not normally associated with his artistry.

A quirky and sincere collection.

Avey Tare’s new album ‘7s’ sits in the shadow of ‘Time Skiffs’, but it contains a curious character of its own. Featuring – naturally enough – seven tracks, it both nods to some of the conduits of Animal Collective’s work, while also injecting something different.

Far from dipping into past glories, the Mael brothers continue their storied run on a stylish, impactful record that illuminates their continued engagement with the wonder of the pop song.