The band's fondness for over-long outros means that it occasionally drifts, where a tighter edit would have made it soar. But for the most part this is an entrancing album of spectral lullabies.

Although littered with incandescent beams of hyper-melody--extending a hand to the youth of 2013’s ‘Days Are Gone’, Something To Tell You is patient and moves at its own, night-unending pace, where Californian sister act Este, Danielle, and Alana surf some kind of strange paradise between love and loss.

Whilst adhering to a pretty well-worn formula with the usual rousing emotion ebbs and flows, Gibbard’s ability to paint such vivid imagery with his carefully considered approach to lyricism does warrant revisiting, despite some moments proving patchy than others.

While not overly original, this album more than compensates for compositional complacency with its energetic delivery.

Featuring a host of Daptone Records talent (Lee Fields & The Expressions, Menahan Street Band) the album’s eleven numbers are a confident walk through the finest examples of soul instrumentals and stands a great homage to the best releases of Cadet, Stax or Hi.

Notably shorter than its predecessor, MU.ZZ.LE is just as rich and arresting, cataloguing Sumach's echoes, mumbles and stumbles through an album of lethargic trip hop and uneasy paranoia.

Few albums this year will match up to the level of proficiency and commitment here and yet it remains a distinct probability that the world still won't listen. An album that will shadow most others.

Full Circle might not break any new ground, but with their simple yet thought-provoking approach to songwriting, HÆLOS have crafted one of the best debut albums in 2016 thus far.

Nubiyan Twist’s latest project offers this joyful escape. ‘Freedom Fables’ is a blissful mix of latin, soul, jazz and highlife – a fusion of musical styles that provides a timely reminder for us all to unify.

While it’s not an unqualified success, ‘An Orchestrated Songbook’ is still an intriguing, at times fascinating exercise.

If anything, the album is held back by his ambition--imprudent testing falls short of his usual standards. There are lessons to be learned here, and as a document of Tyler's growth, this may well be looked back upon as a watershed moment.

It's hard to resist.

It feels unanchored and tremulous, without EITS’s signature drums--but it’s still beautiful.

Perhaps not one for the casual fan, but there’s plenty to unpack for the long-time admirer.

The Past, The Present, The Future has rebooted more of the bad tropes from that era than the good.

In 13 tracks ‘The Waves pt. 1’ is an elegant accumulating of Kele Okereke’s work. It encapsulates so much depth and takes you on joyous rides that you can never anticipate the direction of.

Infinite Arms is their strongest album yet, perfecting their instantly recognisable sound with Bridwell in fine voice throughout.

What could be an unholy mess is held together by tight production, hypnotic grooves and some undeniably catchy tunes.

For the first time, it's Bleeker's most mature output yet and solid terra firma for fully realizing the group as a band in its own right rather than a mere side hobby.

Commendably still opting for spontaneity after all these years, the lads have whittled down some dance-tinged jams into workable songs and the result is an LP that, while unfocused, still has plenty of drive and energy.

A bold, contained statement nonetheless, doubling down on her niche style with a few twists and turns brings us some truly great moments to cherish.

Views packs much less of a political punch than Bey’s must-hear epic, and at 20 tracks, Aubrey for the most part provides a rather overweight and lethargic waltz through his musical comfort zone.

With powerful juxtapositions of connection and disconnection, hope and despair, life and death, possession and loss throughout, Life After Defo is an absolute thesis on pop experimentalism.

A dry and devilishly powerful psych rock collection, hard-nosed and sinister in all the right ways.

‘Find Me’ and ‘Anymore’ channel the danceable charm of ‘Pool’, while the powerful swell of ‘Now The Water’ proves as immersive as its title suggests. By and large, though, The House is marked by a hands-off recording style that dials back on the fine-tuned production of its predecessor.

‘The Life Of A Showgirl’ has its moments, but lacks the consistency of Taylor’s recent work.

The attraction of this LP is the thought that’s gone into it – every sound that you hear has been meticulously planned and recorded using, possibly, something that the Stasi might have once used.

The results here feel somewhat less spirited.