Closer ‘Cyboogie’, the cheesy, sci-fi-inspired lead single from the LP, is by far the most tepid of the set, as if marking the roll of the end-credits and a collective sigh of relief. With that being said, do not doubt that King Gizzard and the Lizard Wizard still know how to kick ass.

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.

While the unique sonics and instrumentation of this album are notably brilliant, they at times feel disjointed on a track-to-track basis.

Its title track, 'The Capitol' and 'Fenix' are all pleasant enough but lack any real dynamic and verge on the point of becoming fillers. Those are only minor niggles for an accomplished album though.

There are some wonderful moments, the single ('We No Who U R') and the title track are starkly magnificent, but the general feel is a bit of a comedown.

There’s no question that a little bit of Lido’s formidable live energy is lost in the translation here, but ‘Miss Colombia’ remains a vibrant, accessible introduction to her boundary-defying body of work.

The lo-fi pop is still there, it’s just more precise and glossier.

There ‘One Foot In Front Of The Other’ saw her present a distilled version of herself, the 14-track ‘vertigo’ is at times spread a little thin. .... The sum of ‘vertigo’’s parts is triumphant in quality.

Like one imagines a night out curated by the Scissor Sister himself, cues shift from pure pop disco to ‘80s maximalism (the almost-instrumental ‘8 Ball’ makes like an extended 12” remix).

Folila's best moments do inadvertently serve as a reminder of how good Amadou & Mariam are without the hired help.

‘Miss Anthropocene’ is undoubtedly the singer’s darkest album yet, the result perhaps of a rollercoaster half-decade or maybe just of an artist who’s never really given two fucks about playing the radio-friendly commercial game.

It's a unique record in the wider sense, but maybe less so within the band's own back catalogue--if you've yet to be snake-charmed by the occasionally venomous but oh-so-shiny Black Moth Super Rainbow, this is certainly a good place to start.

Unoriginal, yes, but while some elements can verge on sounding a bit tired in places, the notable musical lineage it follows gives The Mountain Moves the potential to be as timeless as it is conventional.

So Versions, the answer to the question of what happened when Zola Jesus met JG Thirlwell with orchestral intentions, is a success.

Anyone hoping for 'The Eraser' to fledge further results will be similarly dumbfounded. But taken at token value, Amok is a very fine work indeed.

A thread of hope and resilience runs through, via bright, surfy punk and power pop.

‘Who Wants To Talk About Love?’ arrives as a collective and deeply-charged record of human experience.

As a debut, Melbourne is about as honest an expression as it comes.

Sure, single ‘Shockwave’ and ‘Be Still’ plod slightly, but Liam’s second is a whole lot more sentimental. ... Elsewhere, love song ‘Halo’ jams like the ‘Stones’ ‘Let’s Spend The Night Together’, the title track hints at later Weller, and - of course - there’s an unmistakeable Beatles-esque guitar solo on ‘Meadow’. All of which are references welcome to anyone who’s stuck around for Liam’s new stuff.

Anything In Return is an album applicable to plenty of palettes.

In a world where musicians can feel pressured to release albums year after year, Maisie took her time with this one, resulting in an album that could well be timeless.

Often on 'Awe Naturale', the songs are suddenly cut off before they get into their stride and leave you wanting more of their soulful jams with a rap twist. Regardless, this is a largely enjoyable debut from this versatile duo.

You can be left feeling drained and exhausted after listening. What is clear, though, that if you give yourself over to it it is incredibly rewarding.

Tom isn’t reinventing the wheel here, but he knows what he’s good at; ‘Miracle’ is a skillfully crafted record.

It's fair to say that there are no real surprises here but what we do get is a solid collection of retro tinged songs that will appeal to fans of their previous work.

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

Between The Walls is wonderfully unhinged; it just still needs a little more structure.

It’s a record of two halves; the former a collection of evocative vignettes, the latter a vehicle for her impressive vocal. And while the latter does have its moments - closer ‘Weekend’ is the kind of sprawling epic that brings to mind earlier Jessie Ware - it’s in the first half, shorn of any jazzy accompaniment, that ‘Be Right Back’ is truly interesting.