‘Petrichor’ is a passion project, all about indulging the kinds of whims that don’t fit the Hawk and a Hacksaw mould. On that front, she’s succeeded.

Despite the album featuring several enjoyable moments, though, the listener is left feeling that it’s somewhat rambling and unfocused, and could possibly have benefited from the band leaving themselves more time for their ideas to gestate.

It is a heady and often confounding listen and, for many, will be too drastic a departure from his normal territory, or too diffuse and hectic a set of ideas. What ‘Song of the Earth’ can’t be faulted for, though, is a lack of ambition.

At times the record may not hang together, but it makes up for that in its colour, its audacity, and its unabashed sense of pride at giving just about anything a go.

The echoic wisps and nebulous smoke clouds from their first album have been significantly dialled-back, resulting in a more taut, wiry sound that feels both more focussed and more sinister.

‘Euphoric’ is grand, inspiring and convincing - and feels like summer love bottled up.

The result is one of this year's most welcome collaborations. Definitely worth the ten-year wait.

Musically rose-tinted, ‘Poster Girl’ is pure pop escapism.

Having watched countless American artists demonstrate through their music that Black Lives Do Indeed Matter, Kele Okereke has finally achieved his own Black-British take in ‘2042’, capturing all the fears and foibles of our current political system through a sonic palette that recalls some of the earliest of Bloc Party’s work.

‘Dark Rainbow’ sounds like many of the best bits of each of their previous records. From rousing opener ‘Honey’ to the soft ballad closer of ‘A Dark Rainbow’, there’s a familiarity without ever feeling rehashed; that is to say existing fans will be pleased, while any new ears this falls on should want to hear more.

This is the sound of a band who have re-discovered the party (the good bits, the bad bits, the seedy bits) and the result is that Too Weird... is an album that pops and fizzes with excitement, vim and intent.

There's no doubt 'Nocturniquet' is amongst the band's best work, and sufficiently different – witness for instance the loud bass-heavy synths that pervade the heavier tracks – from their career highlights that it should satisfy all comers. It's f***ing brilliant, and that's really all there is to it.

Born Under Saturn is a record so vivid it threatens to become visual.

Free of statements and the man’s desire to make every record some kind of grand manifesto, Tomorrow’s Modern Boxes is a mini-triumph that’s only occasionally tarnished.

Too True is a decent enough album and one which ends more strongly than it begins. But it isn't as good as 'Only In Dreams' and because of that, it can't help but feel a bit underwhelming.

It's very different, and whether or not it's better than The Mars Volta is a debate for others; what is clear is that Omar Rodriguez Lopez--and friends--still have a lot more to offer.

A laid-back, well-considered and joyous effort to swing you through the summer months.

iven the excitement that’s put to tape, it’s obvious this has been Jungle’s intention all along; not to be mysterious, not even to be adored; just to be the record that plays while people’s lives are shaped. Something that’s remembered within every pang of nostalgia.

This is a fine piece of synthpop that is a good addition to the collection of any fan of this genre.

More questions than answers, more problems than solutions, but with just enough moments of sheer brilliance to justify it as a release.

It’s very much designed in their own image - as debuts go, this is an impressive mission statement.

They still sound like they’re on a process of self-discovery, just a couple of steps away from striking gold.

It’s a rewarding experience and probably one of the closest, most intimate listens an artist will offer this year.

A welcome return.

There are a number of genuinely interesting pieces here that make this a very worthwhile addition to Bjork's discography.

Although the ten tracks are by no means light of memorable moments, it's the thrilling range of diverse songs that flow effortlessly that makes Antipodes a debut album to take note of.

A far cry from ‘Magnolia’ and even ‘Peripheral Vision’, Good Nature is proof that experimentation can pay off. And though not so left-of-centre as to be inaccessible, it’s still a richly nuanced record that reveals more of itself with each listen.

None of this feels enough to truly deserve that futuristic tag, but maybe this new set-up just needs time to find their own MO? In the meantime, we’ve got another great single to add to that hypothetical greatest hits.