All those who lapped up ‘Tracey Denim’ will be satisfied here. ‘The Twits’ may yet charm a few more besides.

IV is a wondrous beast.

Now, the scuzz and rough edges of their younger selves is swapped out for the fizz and crackle of these vital reworkings, which take in some of their most varied sounds to date; in amongst the usual post-punk vigour are hints of shoegaze, psychedelia and - on the standout ‘Major Amberson’ - melodic pop.

The Inevitable End accepts its own strengths and faults in one fatal blow, just like any last gasp should.

CocoRosie certainly revel in their unorthodoxy but this doesn’t always make for enjoyable listening; perhaps if their Tales Of A Grasswidow knew how to breathe, their macabre hymns might pack a little more pluck.

The in-demand singer-songwriter-producer primes himself for new heights here - tapping into the hedonistic spirit of Studio 54, while applying a gloss that is very much of today.

The album was entirely performed, engineered and produced by Noel Heroux; perhaps the input of a full band and a producer would have brought these songs to life and produced a rather more coherent and fully formed debut.

As coherent and arresting as everything is, it is true that some of the hooks are not particularly immediate. A few of the tracks seem to steam ahead but never really find an end destination, with any hooks getting lost in the mists of fuzz.

It’s short and easily missed, but catch it and you’ll be able to feel the excitement, freedom, and, perhaps, relief of a band rejuvenated.

Notably looser is ‘Oblivion Overture’s classical, Fantasia-esque take on earlier track ‘Oblivion’, while ‘Morning Of My Life’ finds a softer side to Flemmons’s nasal vocals, accompanied by little more than soft plucks of guitar. When combined though, these opposing elements transform Jackal into a distinctly outright collection of songs.

The result is a tight, neat little package of postcard pop, as radio-friendly as ever, embossed with Field Music's auteur sound.

Pure Bathing Culture have created an ambient watercolour wash, but leave you fruitlessly longing for a brave splash of boldness across the canvas.

A record that feels cathartic but never ruthless, freeing but still subtle.

Any sense of experimentation and freedom is impossible to find. Are Dinosaur Jr trying too hard to be Dinosaur Jr? It's the way it seems.

It’s nothing short of pure, menacing excitement.

The band has honourable aims with its vocal intent and concept, but fails to inspire with its content, nor deliver on its promises.

This more paired-back approach isn’t always successful, mind: certain parts of Sex & Food--a bit like inviting whipped cream into the bedroom--seem like a really good idea at the start, but turn into a bit of a sloppy mess along the way.

We’re not asking Whitney to soundtrack a raging rebellion, we just want them to make us feel things. Forever Turned Around only partly succeeds.

Although Upside Down Mountain could do with a little more lyrical variety and structural experimentation, it is strong.

‘EXPO’ is not quite Charlie Brooker in song, but it’s not too far off. Fully immersive but a little disquieting.

Come the curtain call closer of ‘Push’, it’s evident to see Love Yes serves as the most iridescent article of TEEN’s discography--a crowning jewel that’s wildly flamboyant on first impression yet deeply personal upon closer inspection.

A genius--and yes, perhaps a little bit crazy--with an attention to detail like no other, no matter what might slip from his grasp ($53 million for one, if recent statements are to be believed), Kanye West is in full control of every atom of The Life Of Pablo.

Leaner, more menacing, but still quintessentially Weaves, Wide Open does what it says on the tin, in the best possible way.

Doing it with a little help from his friends, he's easily landed on his best album yet, out of any guise taken on in the last 10 years.

The whole thing would have sufficed as a bonus disc rather than the standalone album it is.

Poliça have broken new ground and consolidated old strengths with this laudable step outside of their comfort zone.

[The album] is essentially a standard Mark Lanegan Band release.

While it might lack some of the emotional resonance that the absolute best of their peers can achieve SYB should be commended for getting the pain parts of the deceptively tricky pop-rock jigsaw together with some aplomb.