All ten tracks, and their accompanying dub allies, have the presence and sound to claim dancehalls by the fistful.

A fine goodbye filled with easy charm and style.

At times Wolves' polished, pop-tinged punk sounds more like a proffered Pepsi can than a clenched Molotov cocktail, but it is still punk to its bones in a time when the label tends to be skin-deep.

The dirges are ditched, yet the previous elements they made their name with are overdone.

This is a beautiful album that’s as absorbing as it is emotionally affecting.

The final result is a debut album brimming with confidence, confidence not only in Lipa’s own voice and her eye for a chorus, but in the emotive quality of her lyrics.

They’ve created something quite distinct from their former work. In this regard, Relaxer places them firmly back on track.

A fun and colourful indie album full of pop sensibilities, Different Days is a joy from start to finish and is further indication that Tim Burgess and co. show no sign of stopping.

I Used To Spend So Much Time Alone sees the Seattle group recede deeper into their comfort zone with a batch of tracks that are lukewarm at best.

As a musique concrète or experimental electronica album, Burials In Several Earths is an above average attempt that contains myriad intricacies and points of interest. As something to carry on a peerless lineage, however, it feels like an unnecessary move.

In short, it’s a low-key gem.

Presenting a portfolio of some of the best ‘rawk’ songs 2017 has to offer, The Amazons have remained consistent and have begun to embed themselves into the rich tapestry of rock ‘n’ roll with a bolshy stadium sound. If it ain’t broke...

His most well-rounded, diverse, and unrelenting body of work to date.

Much like the show itself this is a wonderfully crafted set (check out the deluxe ‘condiment’ vinyl), which is at times both smart, sweet and very, very, stupid.

This time, reckless abandon is replaced by forced jollity and the vibe turns from head trip to school trip.

The act-to-act cohesion is seamless, as is the recreation of rigid techno militancy, and should be met with at least one bouquet brought to the stage.

Originally whittled down from 40 songs Williams had penned from a jumble of sample-led ideas, You’re Welcome nonetheless features Wavves proverbial fuzzy guitar distortions and surf vibes, but includes his explorative forays into ‘70s psychedelia from South America, Cambodian pop and his obsession of ‘50s doo-wop.

United States Of Horror is wired on a different kind of anger--these tracks seethe with violence and disgust, raging at dark political orders, economic inequality, racial tension and fractured society.

Live up to the hype? The short answer is ‘yes.’ The slightly longer answer is ‘yes, but not as you’d expect it to.’ Funnily enough, the record packs something of a slow burn effect.

With his debut, Styles manages to escape the notorious curse of former boy banders, turned leading men, creating an immersive, reference-fuelled tribute to classic rock for the millennial generation.

Compiled by Nick Cave and founding member Mick Harvey, the three-disc editions offer 45 tracks to explore the thrilling journey of one of the planet’s most uncompromising and enigmatic groups. All your standards are here.

As an album, it must be said, Gargoyle never truly coalesces. The distance between the bright, ethereal shoegaze sound and Lanegan’s dirty, earthbound voice is just too great to be reconciled (although 'Nocturne' does come incredibly close). But just because two compounds don’t mix doesn't mean they can't form something beautiful together.

Ásgeir's music is far too complex and interesting to start writing off as advert fodder. There's a depth to his work that deserves to be burrowed into.

Forest Swords was already becoming quickly respected for his deftness of touch when dealing with both musical and emotional tone. Compassion demonstrates he is very capable of weaving them together until they are intrinsically entwined.

It seems to fall between two stools, not supplying enough arena-filling arrogance while never truly indulging the more surprising elements of their record collections.

The group feel more at home with the methodology of early prog or post-punk, with a sense of the abstract rippling beneath those crystalline waves of perfect sound. Shine on, you diamonds.

Emerging from the murk and into the new-found quiet of middle age, Feist’s Pleasure is a document of stark beauty that’s entirely and unequivocally her own.

Intimate and endearingly honest, This Old Dog is Mac DeMarco’s most essential chapter of slacker gospel yet.