The beautiful part about Bad Blood is that it is both entirely predictable yet completely disarming.

In a record where there are a minor derivations on a tried and tested formula, 'Still Life' is a major curveball; a high-risk almost jazz-like number that's almost ruined by the strange whizzing noise that could easily be a kazoo teasing its wares throughout.

This is an album that suffers from having altogether too much surface and not nearly enough substance.

A laid-back album Altogether may be, it still leaves a sense of anticipation as to where the group will head next.

Cave Rave is outlandish, silly, summery and as brilliant as its title, and Crystal Fighters have somehow managed to continue in making their seemingly unattainable mix of traditional instrumentation and ideas and dubby electronics work without disaster.

Taken on its own merit Rituals is a bright and bombastic record that harbours a darker underbelly. ... And though there’s a chance it will alienate a small portion of established fanbase, it will certainly earn the band more than it loses.

Despite hiding behind the veil of electronic experimentation, Thom Sonny Green has taken a brave step forwards.

Slick production and a consistency in sound may make for easy listening but if you pay too much attention it all starts to sound a bit contrived and cheesy.

Not a lot on Spreading Rumours makes sense. It doesn't match, even in its apparent desperate attempt to sound like the bargain bin of an Urban Outfitters.

Named after a match-winning wrestling move, Coup De Grace isn’t quite going to do that, but it’ll get Miles through to the next round

'Weapons' has no shortage of big choruses, slick production and crunching riffs but is let down by tired lyrics and too many forgettable songs.

This latest effort from Australian trio Methyl Ethel is a lithe, sinewy creature, by turns weighted and buoyant, half darkness and half shimmering light.

‘Hassan Chop’ is a welcome reprieve towards the end, introducing some of the relentless punk drive of the band at their best, but it does little to revive the rebellious ethos ‘Let The Bad Times Roll’ clearly strives for. Forged from our current volatile climate this may be; an appropriately cutting and volatile response, however, it certainly is not.

Engaging and draining, Parquet Courts have once again pushed their capabilities to the max, and as ever, the results are like nothing you’ll find elsewhere.

At its best, Youngish American exists at the nexus of day-job classics ‘Giving Up the Gun’ and ‘Unbelievers’, offering glimpse of Chris’ massive potential to be an engaging solo star.

If a little more time been spent focusing on the increased R&B influence, Tranquilizers could've been the rejuvenation chillwave deserves.

So far, so great. But when the use of vocals is taken into overdrive on final track ‘Go On Without Me’, where Jacob Bannon from hardcore punks Converge offers up his jarring scream, it’s almost on the borderline of becoming too much.

Perhaps the biggest criticism about Brain Holiday is that it does become a bit of a yawn towards the end.

Medicine is an album that baffles just as much as it thrills.

For those open to more electronic sounds, this will likely be a great release and to those who are dubious of change, the band have accounted for that with a handful of numbers that more or less embody their established sound.

Too much of the album’s mid-section is plagued by Kele’s whimper, and the experimentation with guitar sounds sometimes prioritises method over melody, but there’s diamonds in the rough that shine as bright as the best of Bloc Party.

While in small increments ‘Sexorcism’ feels incredibly empowering and progressive, when you go 12 rounds on the trot, it fast becomes a law of diminishing returns, clumsy in its own damp puddle.

With a bit more focus and a more cohesive feel running throughout it, this could've been a great record. As it is, perhaps as a result of their success to date and the expectation it undoubtedly brings, it feels almost like a missed opportunity.

'Look To The Sky' sees him returning to the spotlight with an album that only fleetingly hints at his past glories.

With new tools, they’ve taken liftoff from a proven formula when they really didn’t have to.

If you are prepared to enter into the listening experience with open ears and an open mind then you will be rewarded with an album of remarkable completeness that feels like a genuine coming of age for two musicians who are growing a little older with a significant degree of grace.

Forget the fact that even at its best moments the album still kind of sounds like a RATM reunion minus Zack de la Rocha, the biggest issue with ‘Prophets Of Rage’ is that it’s not as radical as it thinks it is. Is it competent and confident, energised and engaging? Sure. But there’s nothing new here.

Planta is the sound of a band rejuvenated, a diverse yet cohesive effort that tightens the sonic screws without losing any of the warmth and identity they’ve managed to create for themselves.