Dutch Interior’s new album lives up to the hype that surrounds them in a wonderful blend of country, folk, grunge and so much more. It’s hard to categorise them but there is a thrill in seeing such an ambitious debut that lands its audacious swings.

Dirty Projectors [is] a disruption, but a pleasant one at that--it affords listeners the space to grapple with the loss of Dirty Projectors in their previous form, while dispensing enough nurturing, boundary-breaking tonic to ensure that the first run-out for the project's next chapter is shrouded in optimism rather than dissolution, unforeseen obstacles and all.

A perfectly balanced album that matches her newfound vibe as a woman ready to tell her truth. This album is a note that good things come to those who wait.

On this their second album they have created a sonic world that is heavy with atmosphere, tension and gothic drama. The anxiety of the guitars and basslines are a thread throughout ‘Never Exhale’ and yet alongwith the striking percussion it all hangs together as a most glorious whole which will envelope the listener and weave its spell.

As pure and rich as milk and honey.

Every track is excellent, ruthless, relentless.

Brash and bold, its juxtaposition of fragile synth lines and uncompromising slabs of aggression make for a compelling, if not occasionally familiar, listen.

By befriending you and almost playing good cop bad cop, the vibrant grace of ‘Ra_Light’ and the global peak of ‘Near The End’ open an organic sense of nostalgia with an alert funkiness.

A sobering state of the world address spoken with street eloquence and education, W.A.R. resumes Pharoahe's talismanic dictation above a packed battalion of guests as a failsafe spectacle.

Unapologetic, progressive and complex, it's adventurous, indulgent post jazz, brimming with spirit. Absolutely exhilarating.

A short, sharp burst of intensity, it’s like a 40-minute session on the massage table with kneading thumbs being pushed into your brain.

A work of dancefloor renewal, ‘Ambiguous Desire’ is explicit in its aims – to move your body, and move your soul.

McMorrow loyalists may bemoan the polished sheen that characterises the tracks on We Move, but there is some genuine pop-soul mastery at display here, McMorrow’s sound more wholesome without renouncing the spectral quality that characterised his earlier material.

There are a couple of tonal mis-steps, we’re looking at your ‘Esportes Casual’, and perhaps the running time could be shaved down, but overall this stands as a sweet reminder to take a step back from the madness and breathe.

In these trying times, it’d benefit from being a whole lot more confrontational.

‘IT’S BEEN AWFUL’ might be TDE’s most TDE-sounding project since ‘DAMN.’ and it’s thanks to Rashad and his team cleansing their palette to create something timeless.

A surprisingly effective 21st century take on the Seventies singer-songwriter album, with tight band performances from the likes of the Dap-Kings and sympathetic production from the king of the trumpets.

Real Estate emerged as a band renewed, the palpable unity in these performances amplifying their sense of purpose. A Springtime joy.

The sound is typically dense but never overwrought with a wide sweep of styles and textures, The Orb being past masters at moulding a huge pool of raw material into a cohesive, listenable whole.

Less one-eyed compared to, say ‘Omega: Alive’, far less experimental than the last ‘Nighttime World’, ‘Victorious’ still leaves open the interchangeable nature of where Robert Hood starts and Floorplan ends.

While never quite holding together as a set, NIN continues to admirably cover new ground while doing what they do best, namely reflecting humanity’s worst impulses.

The fact that I’m listening to this album on a gloriously balmy afternoon and am getting in the festive mood is testament to Legend’s conviction and the arrangements. However after 14 tracks, it does start to lose its way a bit.

‘Tension II’ is embedded in Kylie’s more up-front pop tendencies. That’s no bad thing – she’s the best around, after all – but it does make the project feel a little slim in places.

Pearson's mournful growl, and the brutal honesty in raking over his personal failings, makes for a majestic, in-the-dead-of-the-night confessional.

There's enough promise and originality within the current scene to merit considerable credibility.

Like most King Gizzard records, it runs out of steam in the second half, but when ‘Infest’ rips it rips as hard as some bands who have been making this music for decades. Like the modern thrash revivalists, King Gizzard combine youthful energy with enough of their own inimitable style to make this excursion into the cobwebbed world of thrash fresh and interesting.

As palate cleansers go, ‘DON’T TAP THE GLASS’ does its job: a mash-up of shrewd and slinky dancefloor capers that dials back the conceptual overload and hits the reset button.

Undeniably formulaic but just as captivatingly beautiful, solemn closer Let Me Back In is the track-stopping highlight, painstakingly building to a crescendo before the ghost voices drift out. Glorious.