In short, it’s a low-key gem.

At the heart of this record overriding percussive elements claw their way to the forefront and this matched with Ditto’s smooth but commanding voice is a winning formula.

A more immersive, majestic and ultimately engaging release than album one.

Clocking in at 56 minutes, Primitives doesn’t overstay its welcome by overreaching yet it shows that Bayonne has more tricks up his sleeve, which he should easily be able to demonstrate in his live shows.

Across its 10 tracks, the album focuses more on the complete experience than unexpected instances of sidestepping intrigue.

Everyone will have their own favourites. It’s just a blessing that picking one will prove so difficult.

The album perhaps sags a little in towards the later stages--weighed down by the claustrophobic washes of sound. But as a whole, it compliments the rest of their back catalogue well.

The spark of unpredictability that defined his previous records is sadly lacking.

Herring’s blessed baritone vocals teamed with their trademark bittersweet synth and hefty baselines will continue to make for decent, honest albums for as long as the four-piece please, but the introduction of a faster, lighter tempo in tracks like ‘The Painter’ and ‘Hit The Coast’ could mark the beginning of a much-needed dive into uncharted musical waters.

It’s a staunchly creative gesture, defying the pressure of the outside world for a project which thrives on internal desires, and the power of autobiography at any cost.

‘2000’ is a distinctly Joey Bada$$ project, although it doesn’t necessarily tread entirely new conceptual grounds, the spaces it does occupy are well thought out and exceptional for a reason. This album is another brilliant example of why Joey Bada$$ is such a powerhouse in hip-hop.

Anna Burch fills ‘If You’re Dreaming’ with deft allusions, enhancing her voice with jazz-tinged chords, soft rock blemishes, and singer-songwriter tropes. It’s all handled with her customary grace, however, resulting in a subtle record that gently overwhelms.

Marks to Prove It is the most cohesive offering from the Maccabees to date.

A credible effort though, with enough promise to merit an investment of anticipation.

Musically stripped to the basics, the set is engaging with an infectious charm, neatly adding to that capacious back catalogue.

Occasionally Rae slips into serviceable, insipid pop, but it’s a minor grievance in a record that takes her from monochromatic to technicolour dreaming.

With their frantic live performances and a solid set of tunes behind them, the sunbaked stoners are on to a winner with this ten-track wonder.

At 40 minutes long it’s probably just the right length, and both beats and rhymes will have you reaching for the microscope to appreciate the layers and nuances of each, listen on listen.

It’s an album in tune with sometimes grim social realities but one which doesn’t get wrapped up in them, privileging lovely tunes and a broad appeal. European Heartbreak is a triumphant wodge of sparkling pop.

The solemnness of the title track reverberates throughout most of the other tracks on the ‘Prizefighter’ album. It easily wins the ‘prize’ as the best song on an especially spectacular album.

It’s a subtle progression for the trio, the band honing their craft to produce a record that is equal parts compelling as it is isolating.

‘Different Kinds Of Light’ shows Bird navigating melody and emotion with impressive command, a musician in all senses of the word. Continuing to colour outside the lines on future material could make Bird a household name for years to come.

Revelatory, raw but resplendent throughout, ‘Las Mujeres Ya No Lloran’ is one of Shakira’s best albums to date and is a fitting testimony to her strength and resilience turning what was a devastating situation into a beautiful body of work.

Ashnikko uses cogent and wisecracking lyrics thrown in to a vat of saccharine pop, punk, rap and trap as her weapon of choice. She promotes her sex positive ideals with genuine laugh out loud humour as she explores the movement throughout the mixtape.

Suck It And See is not a disappointment, because we've learned never to expect the Monkeys' next move, but it's not half as fun as we'd like it to be.

Its straightforward, no bells and whistles approach is at once its greatest appeal and its most obvious shortcoming. Doris & The Daggers is deliciously satisfying beer rock--nothing more, nothing less.

Dusty Notes is an easy listen, but a Meat Puppets album shouldn’t be easy--it should be a hot mess. Somewhere along the way the Kirkwood brothers lost the ramshackle charm that made them everyone’s favourite musician’s favourite musician.

Gallagher remains an excellent interpreter of others’ lyrics, but he takes the skill further here and it results in a collection of classic songs drenched in melody, accompanied by clearly expressed, noticeable lyrics.