There’s still moments of fragility that populate the record (‘Fade’), but for the most part it’s a brazen and self-assured release, and it’s all the better for it.

The album is a bold step, Spunt and Randall striving to write songs they would be psyched to listen to, and moving in a direction that will fail to disappoint fans of earlier releases 'Nouns' and 'Weirdo Rippers'. Rad.

You can't help but feel that the teasing at euphoria on Slow Knife would be a little less frustrating if the thing were allowed to crescendo further, and for some of that drumwork to be incorporated accordingly.

‘It’s Never Over’ is this band’s best TV On The Radio impression, and ‘Porno’ almost goes G-funk: a pleasant surprise. But undercooked electronics, impotent rhetoric, too-familiar crescendo-ing structures and an overall feeling that this needs further post-production attention render Reflektor an entirely substandard album.

C'mon is such a delight, simultaneously luscious in their orchestration and muted in their delivery. Beautiful.

Without getting too deep and meaningful and forgetting that Distractions is simply an album of indelible punk jams, it's also the sound of a disillusioned and discontented generation, and their collective vitriol speaks volumes for the rest of us.

Jinx isn’t really a narrative anyway, more a fine assemblage in which a slightly eldritch weirdness is balanced with pop nous. It certainly feels like Crumb are on the cusp of something here.

There is a Big League sheen to much of this record which, mercifully, at no point saps the band's wildly abandoned creativity.

At times the clash of rhyme and sonic styles is too full or disjointed, sounding like the Boys are still finding their stride and working out how to cram everything in. Plenty here though to be blasted throughout Suburbia.

‘Love Hallucination’ is further evidence she’s now one of the label’s strongest artists, and also one of the most consistent creators of the past ten years. She may have slowly left her bedroom and found her way into the club, but Jessy Lanza continues to produce intimate moments you can get lost in.

Although coming quickly off the back of their debut might give people a cause for concern, the conviction with which it’s delivered should put to bed any negative preconceptions. An absolutely vital record.

While Beast Epic doesn’t quite match the strength of those records, it still remains his most pleasing work since 2007’s ‘The Shepherd’s Dog’.

ELUCID’s rhymes themselves are equally dense and layered, yet also effortlessly impactful. .... This is ‘I Guess U Had To Be There’s most spell-binding quality; you just want to peer deeper and deeper into it, plunging head first into its many thrilling mysteries.

It’s a record that makes incisions into the staid, one that knocks over the steadfast; it’s a bold, thrilling construction, one that pushes her history to one side in order to build anew.

It's a damn fine record and manages to avoid treading exactly the same ground its older sister did.

Sonically richer but still rooted in vulnerability, ‘Cruel World’ expands Humberstone’s palette without losing what first defined her sound.

Framed by twin poles of classicism and experimentation, ‘Did you know…’ never truly succumbs to either. An often-unsettling river of song, it finds Lana Del Rey discussing uncomfortable truths, while denying the use of easy answers. What she chooses to reveal is profound, occasionally disquieting, and never dull.

A premise so potentially sprawling is over and done with after 35 minutes. As the conduit probably has his next spiritual plain and energy source in mind, it all adds to the enigma.

It’s fair to say Jordan has delivered an album worthy of its 90s indie antecedents, even surpassing some of these.

Frusciante has managed to pay ode in a way which sounds original, yet adheres to the formula... all in all making for an impressive electronic album.

Itasca’s ‘Imitation Of War’ is a wonderful record, one whose spell only reveals itself over countless enraptured listens.

The Bones Of What You Believe is an exceptionally strong debut where every track is a potential single.

Whilst sonically Fixed Ideals can vary in its impact, Lande Hekt’s lyrics tell a relatable story in a crafty way, carrying the record all the way through.

‘Belong’ has an easy-on-ear feel that is combined to a rich audio quality. But it’s more than just studio magic – Jay Som has rarely written with more confidence, rarely expressed herself with more bravery.

No, it may not necessarily have many outside their core fanbase reaching endlessly for the replay button, but its therapeutic nonetheless as the band delivers what they’ve promised ; a personable, relatable collection of tracks that strip away their blinding shine as idols, replacing it with their warm glow of humanity.

The impressive chemistry the trio displayed on their earlier work continues here.

Assume Form isn’t a radical reinvention, but more a refinement. Live strings, for example, bring an organic warmth missing in some of his formative work.

Whilst for the most part this jam-session approach results in captivating instrumentals and intriguing points of sonic experimentation, at times it can become rather muddled, confusing and drawn-out.