There are enough hair-raising moments here to anchor your skin and stop it crawling quite so much.

‘Electrowavebaby’ is fun but doesn’t seem to add to his sound, while ‘Mr Coola’ feels a little dated. At its best, though, ‘Insano’ can be riveting.

A dizzyingly ferocious support slot on the recent Gold Panda tour proved that London-based producer/remixer Alessio Natalizia's one-time bedroom project is now fully-formed.

Head Carrier is far from triumphant, it’s by no means a failure.

It can be a little too sterile in places but for the most part, Working Girl shows that Little Boots is a canny operator who, now that she's been given the opportunity to do things on her own terms, has finally shown us what all the fuss was about in the first place.

The melodies are subtle, avoiding reaching out to over-commerciality in pursuit of reward. That may be the downfall of course, which would be a travesty, as this is an intellectual and brave progression.

Sprawling LA collective Ozomatli return with Fire Away, their fifth full-length to date, and offer another rich dose of positive energy and musical diversity.

Categorically not your ordinary Christmas album, and one to check out now if you missed it the first time.

Overall there is a distinct retro vibe to City Club. Most of the tracks possess a nostalgic groove which wouldn’t render them out of place in an episode of the enigmatic Twin Peaks

‘C,XOXO’ isn’t Cabello’s brat moment. A lack of refinement and direction is the burning issue at play here, but she has succeeded in making an inherently fun record.

Despite said retro parallel, White Lies do sound like a band firmly in the present, utilising electronic samples with classic valve-driven guitar chords to accompany the trademark baritone of McVeigh.

Distortland may not see them return to the genius pop level they had up until 2003's ‘Welcome To The Monkey House’. But it is much closer.

Without necessarily reaching an unprecedented level of greatness, the record showcases new strengths, this in turn seems far more fulfilling, and no doubt more believable, for a band who are at this critical stage in their careers.

After such a long break between official studio albums from the annointed one, it's nice to see that he's still shaking things up--not just giving us what we want.

What saves the record from being a lacklustre, sotto-voiced tribute act is that, strikingly, Briana herself is a cookie-cutter Northwest coast hippie.

10 tracks of soul-bearing introspection swathed in layers of rich reverb, icy chill and ephemeral echoes of 30 years of synth pop.

Yes, the production is razor sharp, the beats are skewed and often very loud which makes them feel important, but in reality, it's all a façade; an image.

Whilst the album is overflowing with strong tracks, not all are up to par, with ‘The Night I Kidnapped Remo Drive’ slipping below the bar.

Intimate moments, however, like the haunting, heartbroken folk of ‘Tightwire’ show how primal this fourth studio collection could have been.

ye is by no means Kanye West’s finest moment, but it’s a reminder not to count him out just yet.

CCCLX is fantastic as a momentary escape from the lights and sounds of the mad world we’re living in, but once you’ve holstered the pastel pink desert eagle and left the booth, you’re left with only a handful of killer moments that might entice you to return.

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.

It’ll definitely prove a little too keen on mid-1990s house beats for younger ears, but it’s a sure-footed statement of intent from a top newcomer amongst 2014’s pop crowd who, on this evidence, is going to contend for further number ones in the coming years.

It’s an exemplar of her adaptability, and in a music realm stacked with mind-numbing, homogeneous house numbers, Katy B still occupies a lane of her own.

With 'Diplo', listeners can raise their hands to the sky and sink into undulating house, dancing safely under the watchful production of a ten-time Grammy nominee.

Boy Pablo has once again crafted a concise, beach-worthy, summer bedroom rock set of songs, perfect for any indie kids’ “at the beach” playlist.

It looks to be a strong move in his transition to adulthood and proves there's far more to him than being a pretty face for schoolgirls to swoon over.

A return to a more DIY approach delivers plentiful psychedelic sounds and heady hooks, emanating joyful warmth in spite of a seething thread of cynicism amid troubling political times.