This may not be their defining album, but you get the sense that in moving away from their punkier roots, La Sera’s best work may be just around the corner.

A time-bridging release that stands as an essential and timely reminder of just how rock ‘n’ roll ought to be played.

Wyldest writes lyrics that are sparse, but that is not to say that they don’t have bite.

A noble experiment, ‘Digital Roses Don’t Die’ displays an artist willing to stretch, willing to take risks. He never names the source of his adoration, but the real winners here are Big K.R.I.T.’s fans.

A rallying cry for alt-pop insurgency, at its over-sharing best ‘WEIRD!’ firmly places YUNGBLUD as a dazzling Catherine wheel of Top 40 deviancy.

You’re left wondering what impact ‘AUSTIN’ will have on his fans, and on Post Malone’s future work. Is this a one-off deviation, a resetting of the dials? Or will these acoustic templates become his bedrock? Whatever the future holds, this is an album that dares to buck trends, and at its best can be genuinely moving.

Kept to a trim 35 minutes, there’s actually surfeit of highlights on display – each track lands, while owning an incredible sense of breadth.

Despite being less hit-filled than previous works, ‘Piss In The Wind’ is potentially the most authentic Joji project to date, a scenic route through every facet of his sonic and auditory identity.

There’s a playful sense of bawdy humour at work across White Women. Some may find the irony unpalatable, but there’s little denying Chromeo’s cheeky pop mastery.

The result is a joyous and soulful collection of summery pop songs and urgent sun-drenched ditties that grow with you over time.

World Of Joy, ultimately, is impounded by its own musical influences.

Good, but for completists.

Joy is like a rickety wooden rollercoaster--there are a few nice inclines with some mildly disappointing drops between some pulsating flats, and you end up getting off slightly begrudgingly.

‘Rockmaker’ is an experience of the addictive kind, a fitting reminder of what’s terrific about the Portland band, and it offers something novel, something blistering.

This sophomore release is a brave and stunning progression that now solidifies the statement that this group can grow past 2011 without going stale.

Strong and raw instrumentation lays a varied and strong foundation for a subdued vocal performance that charms listeners into a relaxed state, in which you can float along to the soaring instrumentals provided throughout.

Pitched as the genealogy of DFA records in one album, Shit Robot finally lays down his manifesto as an incisive filter.

Everything about this album is bigger than what has gone before and reveals an energised band with a real belief in what they're doing. Quite right too.

With 17 tracks this album could be expected to take off to somewhere fantastic but, although we stay very much on the same page throughout the duration of the record, the pristine production of A Moment Of Madness is faultless.

There are no bounds. ‘Exotico’ let’s go of control, so remarkable things can happen. It’s the closest Temples have been to releasing a masterpiece, and that’s saying something.

Album stand-outs ‘Heavy, California’ and ‘Happy Man’ would have slotted into the last LP seamlessly and, considered as a whole, For Ever feels like an opportunity missed.

This Party succeeds in merely rejuvenating, rather than reinventing, wonderful Wanda.

It’s a declaration that cocktail hour is officially over, having also ditched any collaborations for this knotted beat scene bow, while still able to rise up in glory like sun pouring through a stained glass window (‘Tiptoes’) and sport the luminosity of a screwball gent just when you think the batteries are fading.

It’s not a bad record by any stretch, albeit one where the turgid does bump ugly against the terrific.

No Tourists is unlikely to win The Prodigy any new fans but it’s unlikely to upset any existing ones. And really, if rave-influenced industrial dance is your thing, these old heads are still a cut above anyone else out there.

It’s a beautifully sunny, unashamedly melodic tour de force which pitches up somewhere between a fevered Beatles obsession and a well-loved pile of Go-Betweens records.

Repent Replenish Repeat is their most mixed work to date.

PersonA sees a band stretching their creative wings and expanding their sound far beyond the fireside jammage that created them and becoming a more respectable prospect for it. The sun worshippers have added dashes of shadow and are all the more interesting for it.