‘Blue Banisters’ presents a collection of sun-kissed moments and hazy memories, free from judgement and firmly rooted in place.

It’s not an immediate album, but give a little time for the scattershot approach to sink in and moments of genius gradually reveal themselves.

Gaz’s third solo offering continues to find him moving into his next phase with real class.

Parker's vocals have taken a noticeably more prominent role, often duetting with herself rather than her husband.... Songs like 'Four Score' and 'Holy Ghost'--where Parker takes the lead--are buoyed by unashamedly gospel-inflected chorales. And it works, wonderfully.

It’s not a bad record, but it’s not quite there.

A stellar example of an artist pushing their collective boundaries while retaining full control over their artistic identity.

At times bleak and nigh on disturbing yet always thick with complexity, it's a record which takes many, many listens to get to grips with and rewards repeat listens with almost unbelievable depth.

Broadening the creative scope, Half Waif is given the space to breathe both lyrically and musically. ‘Mythopoetics’ glides from the stripped back piano and layered vocals of opener ‘Fabric’ and the intimate closer ‘Powder’ to the electronic flourishes that have elevated Nandi’s sound across four prior records.

Clocking in at 14 tracks, the Perth outfit here manage to blend evolution within their artistry, while still keeping in touch with their otherworldly roots.

A collection of the best of what has come before, ‘Draw Down The Moon’ finds coherence in its unashamed madness. It’s pulled together by Connor Murphy’s unique vocal performance, and the welcome dominance of drummer Jon Hellwig.

Witty, sexy, confident, and charged with live energy, I’m Not Your Man is the sound of Marika Hackman making the album she always needed to make.

A record that improves on their second effort, placing them in a strong position to break through even further.

Every second of ‘Wicked City’ feels meticulously thought through, the huge breadth of sonic terrain the duo cover the result of real care and attention paid at every juncture.

With this near-mystical storytelling ‘Quiet The Room’ leans heavily on folk, yet in style it embodies something entirely different. Seemingly on the edge of collapse, it tells a fraught tale of fragile memories that exist on the very brink of reality.

A little of the opening tracks’ emotional impact is lost in their sugary, pixel-perfect presentation - particularly the otherwise punchy ‘Street Fighter’ – but that aside, ‘Mirror Starts Moving Without Me’ is a rewarding listen.

Each song sounds like it has an endearing air to it. At times the lack of polish can be grating, but there are moments of delicacy and sensitivity that create a more rounded record than seems to exist on first listen.

Electronic in the loosest, most deformed sense, Psychic rips up convention from the seams to the centre.

The band balance loud and quiet better than ever on LP5, with the one-two of ‘The Maze’ and first single ‘The Gold’ that opens the record the perfect example. ‘The Alien’, meanwhile, is fiddly and intriguing, showing that A Black Mile To The Surface could transport the band to an entirely new world.

‘Roadrunner…’ sees Brockhampton silencing any of those who feared they might have lost their spark. It’s a record that - if it is truly one of their last - sees the lads going out with a bang.

The liberal use of string sections throughout do teeter on the brink of out-and-out cheese but Cowley's trio have enough class and, dare I say, verve to pull through.

With an astute sense of mischief and a knack for snazzy hooks, Best Friends’ debut full-length offering is as endearing as they come.

Teen Suicide’s final act is nigh-on impossible to categorise or fully digest, and its nature and length makes it at the same time a difficult listen, but one that brings rewards of all different kinds across its running length.

Both what you’d want and expect from a Chemical Brothers album, as well as a whole lot more on top, it pushes the duo firmly back to relevance.

There’s still plenty to recommend here, but you can’t help but feel that Neon Indian have a top-drawer electro pop record in them, if only they can trim the fat accordingly.

It’s a crossover record rich with cultural touchstones.

He sounds soft, restrained and beautiful.

Musically the album sees Eno experimenting with three-dimensional recording techniques, creating a sound that’s frequently panoramic and dislocating.

Ten years in, it’s unmistakably King Krule, yet somehow even broader, denser, and crucially more enticing than what has come before.