A valiant and partly successful attempt from K-pop’s biggest band to move forward in their music. While they undeniably remain a success, the recycled sonics and multiple references to past music makes it hard for old listeners to let go of past glory and for the new to connect with their current music.

Adam Lambert doesn’t do subtle, he is theatrical through and through – and we are here for it. The gravitas towards all things dramatic is ever present throughout his latest offering ‘High Drama’ – an album of bold reimagined tracks personally curated by the singer himself.

Collaborations with vocalists Serpentwithfeet, Elise Serenelle and India Carney bring elevated moments to an album of ambient piano which will have you drifting in thought.

Boarding House Reach is easily one of the most layered and compelling releases of 2018, which furthers White’s legacy as one of the few remaining mavericks in music.

Dan Deacon’s return into the solo world has resulted in an exuberant fifth album that leaves us craving for more of his newly honed skills. The fascinating contrast between his acoustic and electronic backdrop leads us towards an elusive higher power, while some of his lyrics bring us back down to earth.

A record that allows itself space to shfit and evolve, ‘Home’ is both airy and immersed in strong roots. A Canadian in Los Angeles, Rhye is proof that ‘Home’ is where the heart is.

That soulfulness amid the misery is the key to making sense of Spirit.

It’s less of a seismic shift from their debut, and more of a progressive tweak towards something much bigger.

Producer MJ (of Hookworms fame) and the band intended to strip things back and become more economical with their sound. While they certainly have achieved this, in this instance it has arguably starved the songs and disallowed them the space to breathe.

Meiburg’s voice is a wonder throughout, wonderfully fragile on ‘Hidden Lakes’, tearing it up on ‘Corridors’. A wonderful album.

If you stand back and appreciate the whole, like a Monet, you will be delighted and intrigued.

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

It’s direct, unflinching and explicitly pop: rarely have Slow Club sounded this full, this bold.

The main takeaway from ‘Dawn Of Chromatica’ however is Gaga’s curatorial ability, and the even strength of talent on display. Capable of moving from Ashnikko’s playful digitalism through to the ballroom energy of the Jimmy Edgar and Bree Runway take on ‘Babylon’, it’s a relentlessly entertaining display.

‘Curtain Call 2’ is at its most engaging when the Detroit figure simply cuts back on the Billboard tie-ins, and reminds us all why he became such a revered rapper in the first place. ... As a project, however, ‘Curtain Call 2’ is weighed down by its flaws. There’s no ignoring the wayward path Eminem has taken over the past two decades, and the tracklisting reflects this.

A pothead's dream and a supremely-crafted set.

Reachy Prints is yet another artful and aerial treasure.

Like a virus-ridden PC vainly trying to upload lovelorn messages over dial-up to its neglectful owner, this side-stepping of the usual Hyperdub format is most welcome. We want more.

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.

Many fans will still be happy with the change that Beauty Behind The Madness has brought but some will surely feel the album has nothing to offer except immediate accessibility for the short attention of the mainstream.

This eclecticism of emotion expressed instrumentally and lyrically is indicative of a matured songwriting style, and absorbs the listener at every turn.

Lady Wood proves Tove Lo is one of the more interesting characters in what is often a personality-less genre, but unfortunately, her unique perspective is diluted by fairly humdrum electro-pop production.

It’s the Gaviscon after the turkey dinner; the strategic nap to escape the family. Like the best sort of present, I didn’t know I needed it until it arrived.

The long-time drummer may be walking hesitantly into the spotlight, but the record carries a softly-spoken sense of confidence. An enriching song cycle, we sincerely hope this is only the start.

All in all, this is a good album. While it has some magnificent moments, it doesn't quite come together enough to make a for a completely stellar ride.

C’MON YOU KNOW is the broadest of Liam Gallagher’s three solo albums, and also the deepest. It’s the one in which he learns to bare his soul a little, and accept different influences.

Across its 14 tracks, the record is an honest and striking body of work.

Life & Livin’ It is a powerful reminder that basic truths, basic rights, are always the most important.