The execution doesn’t always match the scale of its creator’s ambition but ‘Gemini Rights’ is a time capsule of Lacy’s metier right now, and you get the sense he’s one or two masterstrokes away from a classic that will be distinctly his own.

As the tracks progress along the album, they get better and better, and more experimental too. These are tracks which have been made to be played in arenas with their throwback influences.

It’s all over the place stylistically, but then no one ever said that feelings had to make sense.

While she might play it safe as far as messages are concerned--generally exploring relationships--her metaphoric representation of them somehow manage to keep the oft-played theme quite fresh.

It's clearer now than ever that Earl Sweatshirt doesn't care for your expectations, and that he's at his brilliant best when refusing to cater to them.

Whilst ‘Lobes’ doesn’t reinvent the lobe shaped wheel, this is an effervescent funk-laden album which will certainly brighten up those dark January evenings thanks to its soaring choruses and memorable melodies.

In fairness, we have heard the duelling solos, galloping Guitar riffs and Dickinson’s operatic Rock vocals all before, in that sense there’s nothing particularly new in form of style (but that’s no bad omen). Upon The Book of Souls the band do, however, sound tighter than ever, offering a raw atmosphere that makes the album sound as though it was almost written in order to be played live.

Shelter is a haven that tugs you out of your comfort zone.

Sadly, co-producer Rick Rubin’s minimalist philosophy stifles many of the tracks. ... When the album does decide to break free, however, the results are stunning.

If Plaza doesn’t wholly satisfy from start to finish, it’s more than a mere transitional album. Call it a pathway forward that’s anything but straightforward, and is all the more beguiling because of its asymmetrical digressions.

Overall, ‘Such Pretty Forks In The Road’ is relatable in parts and uninspired in others but for a few key moments of simple brilliance it’s worth a listen.

So yes, different to "Made In The Dark" but a more cohesive and more heartfelt effort too. One Life Stand sees Hot Chip let us into their hearts as well as their thoughts.

Always accompanied by her impressive soulful vocals, Lola Young wholeheartedly bares her soul on this album, leaving no stone unturned and no topic unaddressed.

By final track ‘wasting’ the band have taken you on a long, winding journey – not all of it sticks, but the best material here ranks alongside Goat Girl’s finest work.

It’s okay that this seventh album has no obvious breakout or festival showstopper.

There's certainly a harder edge to the sound, yet the songwriting is the key, with a set of tunes commercial enough to sucker you in, yet complex enough to maintain interest.

Armed with rich, booming backdrops, live analogue beats and rising string flourishes, she works the ever-awkward business of injecting nods to the sensitive and self-referential expertly, her words coming across more contemplative than indulgently pious... A solid return.

He’s managed to successfully replicate the feeling of genuine emotion and human connection that drew listeners to him and his music on his first album, with his second likely to be just as prosperous.

A lot of Seasick Steve’s appeal comes from this good bloke aura, a bearded Buddha of the dustbowl, drawing in fans who might otherwise run a mile from his basic, grizzled music but there’s no denying the wonderful simplicity yet wholly enveloping of his music.

‘The Bridge’ is so much more than a clever concept album, there are links between each of the songs and the prolific musician takes to the theme like a duck to water (sorry!) and whilst water is the common denominator, it is really about connection - connection between people, life and death and more.

At times the new record sounds utterly sublime, particularly on a sweeping opening trio of lead single ‘Another Youth’, ‘Difference’, and the career-highlight drive of ‘Drowsy’, and though there’s the occasional hint of MOR, for the most part the group stay well clear of being ordinary.

Except for two electronic led numbers that become more of a slog than a celebration, Gwenno has once again married the otherworldly with the primal with supreme effect. Another contemporary Cornish treat.

Some of Ghetto Madness hasn’t dated well, yet elsewhere it’s upfront and out the gutter stature gives prudes and purists the finger.

(04:30) Idler is his confident, self-assured follow-up. Sonically, Isaac appears completely comfortable in his slightly more refined new skin.

What follows isn’t a retreat, however, but more of a re-entrenchment, a record that tackles aging, loss, and reconciliation. It's not without surprises.

An undeniably innovative slant lies at the forefront of this LP, as well as a warming glow to soundtrack impending winter nights.

Their newest newscast is a record that simultaneously could take you anywhere, yet doesn’t really go anywhere at all; its strength is just being there.

While this fifth album contains icier, rather Fever Ray inspired electronic soundscapes, frontman Paul Smith’s eccentric tales of nocturnal sports and deceased poets are mostly backed by the angular pop production fans of this band have come to expect.