At once a relatively pragmatic re-release of already heard material and the satisfying conclusion to its previous flirtations, Joli Mai is a hybrid: part-album, part DJ-toolbox--and totally playable, in any context.

Stereophonics don’t have the lyrical potency of their earlier incarnation, often erring on the side of grand generalisation--as is the way when you have to appeal to enough people to fill your next arena tour. But frontman Kelly Jones has got one of the damn finest voices in rock ‘n’ roll, and that’s surely worth the price of admission in itself.

There's nothing that innovative or thought-provoking, but that's hardly the point. It’s freaky, it’s naughty, it’ll get your head nodding.

Krept and Konan end up sounding like features on their own songs.

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.

This latest from Lindstrøm weighs to heavy on the pedestrian side. Sure, the whole package is professionally crafted and confidently gets you drifting away from your day-to-day woes, but what we really need is for Chewie to punch it into hyperspace.

Dissolve is a fine album for the time being, but it has a built-in sell by date and TUSKS may well want to diversify before the tide changes and she's left gasping on the shore.

A rich, fascinating, and perplexing album, The Curious Hand continually deals out new and unexpected elements, stretching Seamus’ until it breaks into the spirit of fanciful experimentation.

An album that suffers from feeling just too assured.

A cohesive, immersive listen that heartily repays repeated listens.

A fluid, effortless and absorbing listen, King Gizzard & the Lizard Wizard aren’t just one the industry’s most prolific bands, they are also one of the world’s best.

By cementing his role as musical heir to the mantle of Serge Gainsbourg (if you ignore the fact that Charlotte Gainsbourg herself is a pretty worthy heir), as well as perhaps the only musical peer of Sleaford Mods, Baxter might just have succeeded in further escaping Ian Dury's long, dark shadow.

Able to walk the line effortlessly between animalistic lyricism and tracks that are more melody-focused, Wretch has managed to paint a picture where the brushstrokes are appreciated by all.

It feels like a genuine step up for the duo, and the divine collage of sounds and futuristic atmosphere make it an essential listen.

Neō Wax Bloom begs for multiple listens and, once you’ve digested every morsel, you’ll be wanting to visit Mamu more often.

Ash serves as a stirring, reflective statement in uncertain times. Russell’s production throughout is outstanding too.

Ogilala is nothing particularly new or revolutionary for fans, more a strong reminder that there’s a reason why Corgan managed to shift millions of units with his brand of moody rock.

While it wouldn’t be unfair to say that the best moments generally belong to Barnett, the combined force of the duo produces a piece of work that certainly doesn’t seem like too much a step down from the superb ‘Sometimes I Sit And Think…’ and ‘b’lieve i’m goin down…’ that had us all so captivated back in 2015.

While Carry Fire showcases some of Plant’s best and most confessional lyricism, there’s no denying that this is an album that stands out most for its lusciously complex musical structures and influences, allowing for it to purvey an other-worldly quality.

Aromanticism is style over substance, certainly his sentiments run the risk of evading the listening, such is the beauty of the dreamscape he weaves. Yet as you revisit the record, the case for being ‘aromantic’, has never sounded so fully realised, so complete and so utterly inviting.

At its best, The Saga Continues captures some of the old Wu magic but unfortunately these moments are few and far between.

Instrumentally, the generous helpings of tenor sax, soft electric piano and clarinets give Fatherland a depth that warrants further listens once Kele’s rounded melodies and acoustic guitar structures have been dissected.

It’s just sad to hear the spark of reinvention that ignited their last powder keg of an album confined to a handful of tracks on a largely mediocre album. They can do better. They have done better. They will do better again.

The OOZ is undoubtedly another thought-provoking entry into the discography one of Britain’s most exciting and challenging young artists. An intense, yet rewarding listen.

Bring On The Sun’s fascinating sonic tensions never make the listener feel tense. This is cure-all musical therapy for the ages.

There are plenty of hooks and the pace rarely relents, but it’s hard to ever imagine Colors ever being in anyone’s top five favourite Beck albums.

Rationale is a project which highlights Fazakerley’s vocal and songwriting dexterity, and is delivered with an impressive style and confidence.

But for all its merits, much of the chaos on MASSEDUCTION tends to move rapidly in one ear and out the other, making it a pleasant but somewhat faceless affair.