Despite the odd lapse in power, ‘Venom’ is a super-charged and dramatic record characteristic of Wargasm’s spirit.

Alexis Taylor’s vocals are always worth experiencing, blessed as he is with one of his generation’s most striking pop instruments, yet ‘Freakout / Release’ doesn’t tug at the heartstrings in the same fashion as ‘Flutes’, say.

As a whole Hurts 2B Human is not perfect. It is full of emotion and passion in certain parts, and yet devoid of it in others.

There is a deep sadness to every song here, Shah’s first studio set one that will either make you sink into a shadowy pool of darkness, or allow you to reflect upon your own sorrows in a melancholy reverie.

An unpredictable force who is unafraid to speak the truth, Lupe Fiasco merges the modern with the classic for another powerful project.

The most impressive thing about Chasing Yesterday is the playfulness that’s woven throughout it.

At turns utterly beautiful and thoroughly frustrating, there is no doubting the tarnished grandeur on display albeit tempered by some unnecessary navel gazing.

Thumping Mark Hollis-style piano and ominous scuttling backbeats add another satisfying touch to a recommended collection.

A bit of editing and self-control, and this could have been one of the albums of the year.

The anthems are still here, rest assured; they’re less obvious, but definitely no less compelling.

Scrappy but charming, Times New Viking's fifth album shows their dirty sound scrubs up nicely.

It’s sci-fi, afro, poetry delivered with a snarl. This may not be for everyone, hell, it may only be for the brave, but if you take the ride you’ll be vastly rewarded.

It’s a ridiculous, and ridiculously enjoyable, treat, a sign that rock and dance don’t have to be at odds with one another. Taken as a whole, ‘Typhoons’ is a daring evolutionary gesture, one that finds Royal Blood claiming fresh ground for the future.

The record is not without some brighter moments and a celebration of unconditional love on ‘Thread So Thin’ and ‘Your Side’.

It gels together so well that it is hard to find fault. Other than the album needs some trimming. A lot of trimming. Which is a shame as there is a fantastic album in there but navigating it can be overwhelming at times.

The end result is a rewardingly eclectic mix, if not slightly discombobulating.

'The Courage Of Others' is a suitable album for today’s perma-frost Britain, what we’ll make of it when the Sun comes out I’m not sure.

On occasion, it gets a little too pleasant, but, when the songs soar, it’s an infectious listen and, with the prospect of summer sunshine ahead, it will serve to soundtrack hazy days.

These twelve abstract and minimal tracks rather act as perfect soundscapes to accompany your dreams and introspections.

A fascinating record, ‘Archive Material’ is another impressive step forward for Silverbacks.

With greater room for booming electro-ballads and crisply produced dance numbers, Tenderness is more engaging than its predecessor but no less immersive, making it on the whole a hugely accomplished return.

The whole record feels like a big sigh, a huge outpouring of personal tracks or long running loves that she’s finally able to release right. ... If there’s one criticism 'Blue Banisters' will draw, it’s that it’s the same old same old in its sonics. Playing the same chords and singing in her same tone, this might be one piano ballad too far for less lyrically-inclined listeners.

It's hard to resist.

From infectious single ‘Ego’ and to sobering dream pop song ‘Connect The Dots’, his determination to look for solace beyond right and wrong is palpable. We believe he is riddled with guilt – and that is a testament to Solomon’s talent. By comparison, the second half of ‘Uneasy Laughter’ is almost void of internal conflict, even if it remains melodically accomplished.

After such a long break between official studio albums from the annointed one, it's nice to see that he's still shaking things up--not just giving us what we want.

It takes a special sort to do such songs justice with a mere acoustic guitar, but Marshall manages it. When things go electric, the ante isn’t upped nearly enough, however, and can’t help but pale compared to the frantic energy of The Hawks and Dylan fighting the audience.

‘Cyr’ is, of course, far too long and more pretentious than a Met Gala soiree, but the innate contradiction between the essence of The Smashing Pumpkins and the music they have decided to make does keep the listener engaged for much longer than it has any right to.