It’s not an album made for background listening, it’s made for losing yourself in completely, and, in that, it succeeds perfectly.

While it features some surging highs, it doesn’t quite dispel notions that Anne-Marie has yet to nail down a singular sound she can call her own.

Amid the deferential nods, Mazes exude vigour and vibrancy.

‘Under My Influence’ is a bold undertaking, but, at times, it feels unfinished. While many singles and supplementary songs showcase the band’s talent, much of the record weighs in as forgettable filler sounds that take some time in getting accustomed to.

Kevin Abstract’s newest studio album continues to assert him as one of the greatest talents of this generation, an individual who eliminates conformity and remains earnest and candid, regardless of the sonic environment he visits.

‘Broke Me In Two’, which you can already find online, is a good place to start if you’re looking for a sampler. Overall though, it’s a case of ‘good to have you back Joan’, and ‘next time, let’s have a bit more you and little less Lazar Davis’.

Compared to the previous self-titled record the features here are in sharp contrast, with less of a hip-hop emphasis. That doesn't mean they're not interesting, though.

Exhaustive and exhausting, ‘Rush!’ feels like the definitive word in this unlikely rock phenomenon – at its best, it’s a feral reminder of how entertaining the genre can be.

The double album structure adds texture to the record’s length, avoiding monotony. Goldie clearly still owns his sound and endows it with a unique vision on The Journey Man.

The repetitive beats and seemingly endless loops become, on the whole, tired and tedious too soon.

Coldplay's electronic excursions may be more cerebral and less embroiled than those of Thom Yorke's continued influence on Radiohead, but their progress is to be applauded, for this is an excellent album with depths unexplainable within this word count.

‘Caos’ is an arresting, if imperfect, scream from the heart.

The Golden Age ultimately comes across as try-hard penthouse party than wild warehouse rave.

Evelyn offers up the wiles and wisdom of a neighbourhood good guy, or more accurately, the distinction of an original Warp beat sage, providing contented listening caught lacing up a shelltoe.

9 Dead Alive demonstrates amazing talent, then--but the ideas and theme, as a whole, are a bit samey.

At times this record appears confused and lackluster but its solid moments show GIRLI’s capability at being a rebellious and riotous pop star--qualities that were so prominent on her early singles.

Devoted followers of Miles Kane and fans of indie music will undoubtedly revel in this fifth offering, undoubtedly finding exhilaration through its live interpretations. But beyond that, it falls short of finding a remarkable status.

With the obvious potential fully realised, 'Improvisations’ could have become an instant cult classic, but in this raw, rushed and unfinished form it is hardly anything more than a collectible item for curious die-hard fans.

Outrage! finds them actually enjoying the process of writing and experimenting with the potent formula they concocted back at the start of the millennium.

Largely shorn of the gloss which took him to stratospheric heights, it’s little more than man and guitar. The results are affecting, but – and this remains Ed Sheeran, after all – not devoid of schmaltz.

It is an interesting concept -that could have become a beacon for the perspectives of (male) feminists in music- that failed because it was executed poorly a few too many times.

Is this new release going to blow any minds? Doubtful. Yet 'Shiny and Oh So Bright, Vol 1.' sees these alternative figureheads finding their chemistry once more, whilst opening an intriguing new chapter. They've managed to beat the haters this time, let's just hope things remain cool in the SP camp.

With lyrics that can make you laugh out loud and beats that reach the feet, Barnes has managed a careful balance between sheer absurdity and moments of genius.

Literate and honest, it doesn’t always connect, yet with 90 minutes of music to explore it’s a project that demands time and patience to truly absorb.

It doesn’t always succeed, at times feeling too shallow for it to be as impactful as Mendes intended it to be. But when it succeeds, there’s no flaw to be picked out and for that it’s worth a listen.

Outer ventures further into this new realm with an even more polished sound that doesn’t shy away from the cheesier moments. Still, the duo’s effortless delivery of multiple styles wrapped in one tight package remains very compelling.

Beady Eye are at the beginning of their own musical adventure - DG,SS, though hardly full of surprises, is a compelling way to start.

This is principally a marriage of simple, forlorn fretwork and O’s deliciously otherworldly vocals: impossibly, she manages to sound simultaneously seductive and indifferent; emotive yet also strangely detached.