Their heaviest record since ‘Suicide Silence’. Well, maybe their heaviest record since ‘There Is A Hell…’. OK, almost certainly their heaviest record since ‘Sempiternal’. This is not to say that going back to their brutal roots is a bad move. Sykes recently described heavy music as the band’s ‘bread and butter’, and there’s definitely a sense that BMTH are playing on home turf with ‘SURVIVAL HORROR’.

This is labour intensive listening, but hard work reaps rewards. A gnomic, genre-busting album.

These 11 tracks are relentlessly melodic, channeling the soulful pop-punk of Descendents and anthemic grunge of Hole rather than any of Scowl’s pit-stomping hardcore peers. Moss’ ruthless scream makes a handful of notable appearances, such as on ‘B.A.B.E’ and titular closer, however, the main focus here is an elegant sense of rock euphony that manifests via a range of differing but cohesive songwriting approaches.

With 37 previously unreleased performances, On Air Volume 2 is essential for any Beatles collector. For everyone else, it’s an informal insight into the world’s greatest group on the verge of an exhilarating ascent.

A heart-wrenching collection of songs that urges the listener to give themselves over to this album as much as Ethel Cain gives herself over to you.

This is the kind of record that inspires new listeners to explore unfamiliar sounds and musical histories; the kind of record that bodes very well for the future of British jazz.

It is so unmistakably Deerhunter without sacrificing any of their mythos or crucial genetic makeup. And we sure can't find any fault with that.

Each song presents itself as a story-in-miniature; a perfectly crafted beginning, middle, end (albeit sometimes the artistry of the track makes the listening experience more middle, end, beginning).

Viagra Boys stamp a great big watermark over this album as they engrave their aesthetic right down to its core. ‘Cave World’ sees them bounce back with another grandiose LP just a year after their last – true miracle workers.

A beautiful diversion then, rather than an eye-opening reboot or soul-stirring call to arms.

They’re worth the minor missteps along the way.

The album's ear-catching finish endorses Golden Ticket as a rewardingly receptive, slightly slippery customer to the death.

The result is an intense kind of dialogue between man and machine, and draws from the typically organic piano sound a new, otherworldly texture.

There isn't really a dull moment on 7 Days, as the pair clearly enjoy being allowed to flex lyrically without any thought of watering down due to commercial considerations.

A record that lands with such hazy panache, transporting its listener into a nocturnal wilderness where dreams are limitless. The record is undoubtedly a strong return to form for the folktronica vanguards and potentially the signalling of a second coming for the band.

Delivered in a soft whisper, with the most minimal of supporting musical infrastructure compared to its studio counterpart, ['Distant Sky'] is immediately tender and transcendent, but devoid of all hope, the addition of Danish soprano singer Else Torp's stirring vocal enough to render even the hardest-hearted individual a bawling mess.

More than once, in fact, the album surprises with moments of rock gusto. Wilson’s trademark balladry is still in full force, but musically this is a much rawer affair than anything previous album ‘There Are No Saints’ could have foretold.

Off-kilter energy, and their trademark honesty abound, LIFE - who received accolades such an ‘Album Of The Year’ listing from BBC Radio 1- prove with their second album that they are a quality band capable of making stand-out records more than once.

Lapalux has a great touch, but a bit of attention on the parts of the project that feel slightly off could bring out all the fantastic in this record.

Though it may not be their most daring record to date, it’s certainly one where they’ve taken most risks, and their blend of indie-rock and electro-pop certainly pays off.

A powerfully affecting song cycle, ‘On Grace & Dignity’ peels back preconceptions, stabbing straight for the raw nerve.

On ‘Brothers And Sisters’ he sounds like he feels comfortable being in his skin and writing uplifting music that doesn’t have a massive political message, though one is there. It doesn’t have a massively personal message, though it is there. Instead, he’s written an album for everyone.

The album marks itself as one of the most special and singular of the year and beyond. With a cohesive tone of lysergic, hypnagogic soupiness, yet plenty of variety, the genre traversal is almost seamless. The only major struggle from ‘partygatorpurgatory’ is the impatience induced in waiting for more.

The songwriting is easy-going, the risks taken effortlessly; more than 15 years into their time together, Bombay Bicycle Club are still taking chances, and still reaping the rewards.

His third is a fun yet wonderfully composed record that sounds radically different to what he’s produced before. If a little odd at points with a dialling down of immediacy, patience is required to fully appreciate the pay-off.

A trim 10 tracks – and 35 minutes of music – ‘Pink Cactus Café’ feels like a pared back record, a slightly old fashioned ‘two sides of vinyl’ structure.

As raw and energetic as ‘Who Let The Dogs Out’ is, it’s over after a breathless half-hour. There’s enough variety to keep attention firmly on this exciting duo, who might just be one of the best up-and-coming British bands.

Taking his time, as much of the album does, is no bad thing when the melodies are this compelling.