What saves the record from being a lacklustre, sotto-voiced tribute act is that, strikingly, Briana herself is a cookie-cutter Northwest coast hippie.

Fun, and wildly over-the-top, ‘Harlequin’ scratches an itch for both fan and artist.

Interestingly, the album itself isn't “too true”--rather, it’s just true enough.

Post Malone still provides us with a sprinkling of the classics: bitches, butts and Millie on wrists, it’s appeasing. But for the most part, he created an insightful and eclectic record which is a testament to his versatility and willingness to do exactly what he wants.

With 'Diplo', listeners can raise their hands to the sky and sink into undulating house, dancing safely under the watchful production of a ten-time Grammy nominee.

If you can cope with the extreme twee, Heartleap is a diamond.

While it may not quite measure up to their very best work, this is still utterly unlike anything else you’ll hear this year.

A cross-cultural heavenly palette of starry-eyed soul, psychedelic rock, jazz funk and symphonic pop, ‘Chronicles’ is the most expansive expression yet of Black Pumas’ frenetic creativity and limitless vision to date.

Fortunately, these successes do not overwhelm 1000 Forms Of Fear, with tracks such as ‘Big Girls Cry’ and ‘Fire Meet Gasoline’ more than matching the output of her past clients in terms of captivating, powerful pop.

The album overall feels like an experiment for Aubin-Dionne, each song stands alone but it’s heard better as a whole piece. The use of calming synth melodies and diverse beats that tie together to make for a fulfilling and emotional 40 minutes of music.

There is plenty to admire in the sound and structure, sounding far from a copy of the members’ previous groups. Each member is afforded opportunities to shine, it will be fascinating to see the longer-term trajectory of the project.

Bloom oozes simplicity, honesty and contentness. It will be a welcome sound of summer for 'Teen Dream' fans, but don't expect anything too radical.

It’s an ambitious and sprawling work that tackles some big topics, but it’s not fit to hold a candle to the likes of ‘Lemonade’, ‘Blonde’ and ‘A Seat At The Table’, all of which have furthered the cause of confessional R&B this year, and have done so while being resolutely down-tempo.

Sure, it's not all killer.... But still, this is AC/DC: an unstoppable volcanic force, a group that seems to weather every obstacle placed in its way.

That soulfulness amid the misery is the key to making sense of Spirit.

It’s the balance of maturity and melody that will keep you going back to this album. They’ve grown up, but then so have their fans. Let's just see where they go from here.

Most certainly a bedroom record affair and perhaps suffering for this fact but the overall sentiment captured make up for whatever shortcomings may be presented.

Exhaustive and exhausting, ‘Rush!’ feels like the definitive word in this unlikely rock phenomenon – at its best, it’s a feral reminder of how entertaining the genre can be.

Innovation isn’t on the album’s invite, but nonetheless fans will gobble this up.

Largely though, this is the sound of Casablancas giving a middle-fingered salute to his past.

Beneath its whimsical summery palette, lurks a repetitive sound that dulls the vibrant texture the lineup promises. In short, it’s an album that’s halfway there.

The answers aren’t as easily obtained as on its Grammy-winning forebear, but ‘King’s Disease II’ dares to ask questions of its maker, and its audience.

Initial cuts from French duo The Blaze showcased their electronic influences, however with this new album they’ve gone above and beyond with their sizzling percussions, mournful vocals and trance-like sounds.

Richly textured and finely detailed, Invisible In Your City goes moreishly deep.

All the songs are of a similar tempo, tone, and theme. There is little to distinguish them – a bit more diversity wouldn’t have gone amiss. Saying that ‘World Of Hassle’ is pretty fun and has some killer melodies.

Chaosmosis from its title onwards is endearingly flawed, but the sense of communal enjoyment with which they are synonymous radiates from a large swathe of this material and it remains pretty addictive.

With crisp cymbals, heavy guitars and gritty rock ‘n’ roll vocals, this album was meant for a pre-party party.

A work of impish maturity, ‘Extreme Witchcraft’ is Eels at their most playful, with the band’s carefree wizardry still delivering thrills, even after all these years. While not ranking with their absolute best work, in terms of breakneck guitar-led songwriting it more than delivers.