Radwan Ghazi Mounmeh and his cohorts have managed to make a record which communicates across the bounds of culture and time.

The album is a bold, idiosyncratic collection of songs crafted under intense time pressure after producer John Congleton insisted that Grant have all of the material ready to go before entering the studio. Such a challenge certainly seems to have focused the mind.

Funky, frenetic and fast, Zipper Down is not for the pretentious listener.

The most curious thing about RUFF is how its narrative seems to hint at a band running out of energy and inspiration, and yet the music itself would say otherwise.

Like the Tin Man from The Wizard of Oz, La Di Da Di too often feels like a soulless automaton tearing around on autopilot. If only it had a heart.

This is Hey Colossus' best LP yet--by some distance.

It's a record which feels like a grower but never manages to click.

Like a lot of compilation albums, C-ORE struggles with coherence, but still makes for a tantalising selection box and entry point to the DMG project.

His latest LP is an endearing collection of slow-burning, dreamy arrangements, which find the singer wistfully contemplating the shifting nature of identity.

This may be the sound of an artist working with a formula: a formula that is certainly an effective, endearing one, but a formula nonetheless.

Sadly much of the rest of Music Complete is by-the-numbers New Order, and revisionary as opposed to revolutionary.

Even an all-star cast can't save Caracal from its restrained atmosphere and overly polished production

The Curved Line is a robust collection that finds McKeown going from strength to strength.

Dodge and Burn is a sassy ball of madness coming at your ears at 120mph and, while it might not be the most together record these peeps have recorded, it succeeds due to its pure will to do so.

The whole set comes off like a collection of Future songs--with some Drake verses clumsily tacked on as an afterthought.

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.

Out of something very, very old has come something deliciously new.

Higher Truth is by no means groundbreaking but it's damn solid and doesn't truly contain a bad number.

There is a risk that we might take such quality for granted. Just one listen will remove any such complacency.

This is a splendid debut.

The whole album somewhat lacks the same energy, punch and pure magic that The Black Keys have.

It's impossible to shake the notion that here is an album that might just prove to have longevity--to be a loved collection of stunningly written and presented pop songs.

Musically, the pop-punk sound has been largely abandoned (save for, perhaps, recent single 'I Don't Like Who I Was Then') in favour of something more forceful and nuanced.

Catchy riffs and partying aside, this new FIDLAR record actually gets pretty deep.

Like a lot of their back catalogue, Keep The Village Alive is an enjoyable and solid, if unadventurous rock record anchored, as always, by that tremendous voice.

While it's lovely to have them back, this album is more of a pleasant addition to the Mercury Rev catalogue than a defining moment.

The career-spanning retrospective Alone and Unreal: The Best of the Clientele serves as a potent reminder of just how discreetly revelatory the group's primary method of operation has always been.

A comforting return rather than anything revolutionary, it is nevertheless a welcome addition to his formidable catalogue.