‘Actual Life 3’ confidently guides us into an exciting future for UK club culture and encourages us to never forget what we nearly lost.

She creates movement with her lyricism, an intense wave of feeling that brings you in and out constantly.

It’s the ninth studio album to bear the Pumpkins brand, and probably the seventh that wouldn’t find a single track making most fans’ side-of-a-C90 best-of. But it delivers what it promises: songs by Billy Corgan that sound enough like the ones you recall loving as a teenager.

It seems to fall between two stools, not supplying enough arena-filling arrogance while never truly indulging the more surprising elements of their record collections.

Everything about it works, from the lo-fi artwork, to the lingering samples, measured basslines and sedate beats, but there is a feeling of urgency and gravity to these tracks.

From the shoegaze-tinged jangle-pop of 'Future Love', to the dreamy indie of 'Clouds of Saint Marie', Ride sound incredibly fresh-faced.

Never deviating from course, Sugar At The Gate adds one more stitch to the tightly-wrapped DNA that makes TOPS so immersive and enjoyable, its ten glossy songs bearing all the marks of a band that has taken yet another step toward mastering their craft.

The sound of bliss.

Amen & Goodbye is undoubtedly a strong return but also one that’s just a couple of tracks short of something genuinely great.

It’s when EOB dares to experiment that 'Earth' really lifts off. The erratic, rumbling distortion of 'Mass' is as eerie as the thought of space itself, where his sounds tell a greater story than words ever could.

Twilight techno at its most haunted.

‘Born Pink’ gifts fans a mixture of commanding hip-hop tracks, satisfying pop tracks and affecting piano ballads.

Despite his obvious talents as a pop-soul vocalist, you're left with the impression that Woon is far more interesting when he's wearing his producer hat, but we'll keep a sturdy eye on his every move regardless.

We really want to like Lantern for its originality; its bravery and its attempt to grasp a genuine uninhibited euphoria that isn't easy pull off. Sadly it just misses the mark way too often and leaves you with fleeting glimpses of what could have been a very exciting album.

At times it's testing, but there are flashes of phenomenal creative genius here that are destined to manifest further.

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

For the most part Know-It-All is a debut that allows the unfiltered voice of a refreshingly real, young star-in-the-making to shine through.

Tracks like ‘Overflow’ and ‘Stained’ are the album’s most impressive. They fuse electronica and rock with genuine elegance, in a way that feels contemporary and, to a certain degree, even cutting-edge. .... Few other tracks catch fire in the same manner, however.

The world of hip-hop and rap is changing and, while Future’s pattern works well, it becomes slightly repetitive with every listen.

It is so easy to reach in blindly and pull out a well-produced track with a decent guest appearance and Smoke at his lyrical best. However, the album doesn’t stray too far from the genre, it isn’t by any means innovative.

This is a splendid debut.

Ultimately, this album is a timely, much-needed, reminder of the fact that while suffering is inevitable, so is our resilience in the face of hardship.

At times, ‘Only Built For Infinity Links’ leans too heavily on the past, and comes close to being simply Migos without Offset – as opposed to a project with its own taste and flavours. At its best, though, the record more than justifies the excitement – the post-Migos landscape is looking very inviting indeed.

Over the course of the album, the grandiosity gets wearying, and Jamie Sutherland occasionally sounds like Vic Reeves in full club singer mode. But, at its best, Let Me Come Home is a thing of troubled beauty.

Together with bassist Micayla Grace, their second album is an all-round punkier, slicker, catchier and heavier affair.

It's dramatic, emotive, a little cheesy, but magnificently good fun.

Overall, whilst Semicircle does contain obvious flaws, this chapter of The Go! Team is here to have a good time and hopes you are too. And who can knock them for that?

The self-confessed non-DJ plays stylishly to the dancefloor's edge, flirting a little with the background before headline interjections from Bok Bok, Untold and 2562 yank you back to centre square.