V will go down a storm with committed Bronx fans, but is curiously subdued in places--which, in the current climate, feels like a little bit of an opportunity missed.

Accordingly, In Dream is an uneven affair; fabulously ambitious in places, and weirdly subdued in others.

The improvements from the self-titled album can only be comprehensively taken in with a full listen of Jackrabbit, but using a second album to slowly build and improve an already vastly promising sound--instead of attempting an erratic reinvention--is something Ludwig-Leone should be commended for.

These huge, glorious, shining songs--are a step in the right direction.

Jungle have largely played it safe here; the feelgood alt-funk of ‘Heavy, California’ could sit seamlessly alongside anything from their debut, while the ominous nocturnal strut of single ‘Happy Man’ is just ‘Busy Earnin” Mk II.

Just Tell Me That You Want Me does suffer from the lack of coherency caused by the inclusion of so many different artists and styles but fortunately, when the subject and the songs are so good, this matters little.

Formation’s greatest achievement is not just in making a floorfiller record with genuine variety and depth, but that All The Powerful People sounds entirely, only like them.

Messy, complicated, capable of star turns, it’s clearly a record Gonzalez needed to get out of his system.

At times, No Tourists feels like a companion to their debut. That was the night out and this is the morning after’s hangover. While this isn’t vintage Prodigy, it gets pretty damn close and gives hope there is still life in the old dog yet.

You can't help have a smile on your face when you listen to the excellent harmonious vocals of 'Sore Tummy', featuring Alice Costelloe, or the hilarious lyrics of the riff-tastic 'Pony'.

The fact that Words To The Blind doesn’t really make any kind of conventional sense, though, is perhaps the point of the entire endeavour. On their own terms Bo Ningen and Savages have succeeded.

An album trying to survive under the harshest conditions, Angel Guts: Red Classroom is a properly thrilling listen.

A bit of a mixed bag.

Idiots is the wonderful sound of The Electric Soft Parade belatedly coming of age.

Echolocation is a bleak affair, but it does have a number of impressive melodies and a clear sense of the liberation that music elicits in the band itself.

There are moments that long for something that once was, but those moments are fleeting. In its own terms, PersonA is largely an impressive album but there’s still some way to go yet.

Positivity has no bounds, and in Galore this London duo has successfully created a prescription for crummy moods, rain soaked commutes and even the slightest hint of misery.

Fixion is not a traditionally cohesive record. It does not flow as whole, in fact it is all over the place, joined only by a sense of sonic darkness. But for a chameleon like Trentemøller, creativity is his cohesion, formula the enemy--and this is his most creative, experimental record yet.

‘Hanoi 4’ is a driving, groove-led funk workout, while ‘Hanoi 5’ pits all kind of warped gurgles against a nocturnal jazz saxophone. They’re stranger, more direct beasts without the foil of Ruban’s soft vocal and often all the more ominous for it.

They’re an easy punchline, in fairness--perennial whipping boys, probably deserving of a break at some point--but when they continue to churn out nonsensical self-parody, Red Hot Chili Peppers’ continued stratospheric success is nothing short of baffling.

Endless Flowers is an amazing effort that deserves a place at the top of its genre. This album deserves to be heard and loved. Do yourself a favour and get yourself a copy once it hits the stores.

As has become customary for The Leisure Society, Hemming's lyrics and gift for storytelling once again stand out, his wonderful couplets and warm voice helping to lift many of the weaker moments here above torpor.

What it lacks perhaps in originality, it certainly more than delivers in getting, keeping and rewarding the listener's attention.

They pair their trademark hard-and-soft contrast – a sound which, in hindsight, could be deemed proto-hyperpop – with a litany of references that bring to mind Dua Lipa’s concept of ‘Future Nostalgia’, or a reverse Back To The Future Part II, in which Alexis and bandmate Derek Miller present an imagined late-21st Century past via a vivid 2025 lens.

Dude York are doing absolutely nothing new on Falling, but when they do it this well, the throwback is a welcome one.

Overtly joyous and bulging with emotions both past and present, this album displays Best Coast at their most content.

Dignan Porch are slightly less effective at a less sprightly pace, veering too close to the point of collapse on 'And Are Now Not', but this is a fine exercise in pearly, bleary eyed acid pop.

Crusher has a way of alternating organically between pop songs and darker stuff without sounding inconsistent.