Not everything here lands, and at times the raucous performances can work against the songwriting, but when it connects, this album is ready to lay a haymaker on fans.

‘Motordrome’ can be hit and miss. ... That being said, there’s a huge amount to recommend here. A clinical, finessed pop record, ‘Motordrome’ utilises its 10 track span to broach a number of fresh ideas.

Nouvelle Vague have created an album telling tales weaving in and out of the beautifully spoken French word and the English. Regardless of whether you understand what is being sung, easy on the ear and quirky sounds are enough to entice any listener.

Fragile but far from frail.

Luckily the album is the group's strongest and most enjoyable album to date. ... There are moments however when things quite work as well as on their previous albums, but these are the moments that are the most interesting and exciting.

Restless, furiously inventive and resolutely original, Tricky shows no signs of thawing just yet.

In the end, ‘Rocket Power’ isn’t perfect, but it’s definitely rewarding.

The only ‘new’ song is ‘It Might Have Been’. Here Young really leans into country vibes. Slow strumming. Lilting, falsetto vocals with a fiddle solo to boot. It’s one of the standout moments on the album and to finally hear the original version, after all these years, is a blast. All of the songs are slightly different to their original versions.

For 'Planet Her', there is a sense of predictability in that; if nothing else, you can expect a versatile project. Multiple layers mold the artist that is Doja, and as she is carving out a lane that is entirely her own, she is not afraid to be herself no matter how chaotic it may be at times.

Overall 'Dross Glop' may please and frustrate in equal measures.

Krell’s fragile innocence and tenderness remains as touching as ever, though, with a string of grand, sweeping numbers occupying the album’s heart that underline his power to galvanise the deepest depths of the soul.

While it may not be the East Atlanta rapper’s best, it still stands as a solid successor to ‘EA Monster’.

It may not even share the same ambition as ‘No Line On The Horizon’ however, it’s an undeniable improvement on their two misfiring predecessors, marking this collection as their most cohesive and heartfelt in almost 15 years.

Luckily her jaw-dropping vocal capabilities are enough to maintain a consistently thrilling album, and it’s this that makes Careless People worth the wait.

Element, and devoutly ambitious, it’s a record to be absorbed at its own pace.

Lacking both the complexity of the Super Furry Animals' playful psychedelia or the intimate warmth of Rhys’ solo work, it’s nevertheless an appealing curio and trailblazer in the small sphere of biographical concept albums.

Refulgent in tone, gorgeous in execution, the new album lingers on matters of the heart – a full four different songs have ‘love’ in the title. Still, nobody does it better.

For a band consisting of four members, Born Under Saturn is both remarkably adventurous and eclectic.

The album is a promising sweet-treat.

‘What You Gonna Do When The Grid Goes Down?’ isn’t without its flaws. Sitting very much in their own lane, the group prefer to finesse – rather than overhaul – their sound, and as a result it can sometimes veer into the predictable. That said, Public Enemy never once let the energy drop, their raw sense of purpose intact.

If there’s a criticism to be made about Big Box Of Chocolates, it’s that while every track works on its own, often a song has a tendency to knock the course of the album as a whole off centre by contradicting its predecessor.

Those that are used to their favourite tunes packing an immediate punch may be left disappointed, but the time spent ruminating has clearly served them well.

The songs are well written with glorious instrumentation. Hansard is the owner of, well, a decent pair of pipes and whether he’s singing, crooning, bellowing or whispering you feel the emotion in this voice. The downside to the album is, well, we’ve heard it all before. There isn’t anything new here.

It sometimes feels a bit too quick, with most of its tracks coming in at or around three minutes in length. Overall though, hardly anything is forced and it all feels well presented and devilishly melodic.

The experience of touring, which she didn’t have at the release of her debut, is clearly heard in her bolder and more open delivery. Maybe ‘The Secret of Us’ is still not her Sour or 1989, yet she is firmly committed to making one someday.

'Air Con Eden' is an album that knows what it is: a story. Although it may be a surrealist story, something difficult to penetrate, it’s a delicate and genuine debut, filled with warbled and gentle soundscapes.

Avery’s evolution as a songwriter is plain to see on ‘Tremor’.

It's bonkers and wild.