The result is an album which moves on from ‘Hex Dealer’ but still provides the exhilarating, electrifying, and quite frankly, mindblowing songs the New York-based quartet are so loved for.

A record that feels incredibly refined, ‘JAGUAR’ is an expert piece of R&B engineering, with each individual part interlocking perfectly. It’s a wonderful experience, with Victoria Monét’s stellar artistry balancing the sensuality of sound with a killer lyrical flair that aims straight for the heart.

In short; ‘Rack’ is everything you could want from a new The Jesus Lizard record, with some extra musical chops and lyrical smarts thrown in. This great band might be growing old, but they’ve not lost a speck of their singular crazed brilliance.

In her haste to tell her story, ‘My 21stCentury Blues’ suffers from a frenzied second half that cushions the gut-punch it could have been.

It's unfathomably exciting stuff.

All the changes made to beloved tracks like ‘You Belong With Me’ and ‘Love Story’, simply make them shinier. Throughout the whole album, banjos are crisper, guitars are fuller, drums are heavier, and Taylor’s strong 31-year-old voice leads the music. Clearly taking care to not step over her 19-year-old self, all the changes feel totally natural, like they should’ve been that way to start with.

‘Companion Rises’ is an easy listen and utterly gorgeous with it.

Succinct and ultra-tight, ‘I Told You So’ clocks in at nine tracks, yet its breathless manouevres move from post-bop phrasing through to 80s stadium pop, somehow tying them all together with the effectiveness of their mission. A record that gets under your skin, the Delvon Lamarr Organ Trio are well worth tracking down.

A thrilling return, ‘I Don’t Know’ finds bdrmm breaking down the walls around them to claim a space of pure freedom.

‘Wishbone’ stands as a confident pop statement, pairing Gray’s impressive vocal prowess with sleek, polished production.

Driven by crispy drum machines and shimmering synths, Lanza’s second full-length Hyperdub offering is instantly more direct and relatable than its predecessor; cloudy reverb is replaced by sheeny production.

A solid debut then, full of yearning and barstool tales.

It bursts with techno beats that jump wildly from deep and dark to bright and euphoric.

Ultimately, Salad Days is an aural testament to the old adage that there’s a fine line between genius and insanity.

Some of the riffs are quite incredible ('A More Perfect Union'), and the general effect of the whole album is that the listener will want to weep and dance simultaneously. Simply brilliant.

The vocal work throughout is astonishing. .... The Last Dinner Party are a rare and special band, and ‘From The Pyre’ proves it emphatically.

With the success of his previous albums, Apollo could have easily stayed in the mainstream bedroom-pop genre, but the vulnerability and experimentation displayed on this album makes for an impressive, mature step forward in his career.

A brutally funny, scuzzy and lacking-in-seriousness affair, it truly is one of the most entertaining New York guitar albums of modern times.

For TNP converts this will no doubt be regarded as a masterpiece. But for the casual listener, it’s simply another solid 21st century ambient record to help while away the late hours.

Remarkable. ... The 12-track project explores the collapse of a marriage, financial turmoil, anxiety, self-doubt and self-care. A lesser rapper might sink in the mire, but Open Mike has always been dope on the mic, and ‘Anime, Trauma and Divorce’ find him at his best.

If you can cope with the extreme twee, Heartleap is a diamond.

Rammstein have resurrected to bring us their seventh studio album. And boy is it the record we’ve all been waiting for.

‘Broken Hearts Club’ - performed, co-written and co-produced by Syd – feels like definitive moment as the R&B mainstay truly settles into her solo endeavour.

Overall, ‘International’ looks back at the confidence the band has in creating bright catchy pop songs, whilst maintaining that whilst the band may no longer continue, the legacy that they have created remains bright and international.

It’s her vocal prowess that threads together the line-up of producer-du-jour types that feature on For All We Know. That, and the infectious grooves that dominate this album provide endless enjoyment--18 tracks worth, to be precise.

On the strength of this ballsy behemoth of sound, they're easily holding onto that crown while adding yet another shining jewel. 'Hushed And Grim' is a reminder of what makes the band so beloved while boldly stepping into a new chapter. They've never sounded so good.

All Our Gods Have Abandoned Us isn’t a sonic leap into new pastures, rather it’s the sound of a band nailing their sound and operating at the very top of their game. In a genre as crowded as metalcore, Architects have managed to craft a sound that’s instantly and recognisably Architects.

Whilst lyrically, it is a portrayal of insecurity and pain, sonically it is a bright, glistening piece of pop magic that merges the quintessential style seen on The Japanese House’s three EPs with new points of exploration that only increases the excitement around this enigmatic superstar-in-waiting.