Aat large, the album is a quiet predator.

Noisy, riotous, anthemic and bristling with excitement, INHEAVEN is an album to rage along with.

Omnion can feel somewhat familiar musically and while it’s unlikely to break the ground of earlier releases, nor does it need to--Andy Butler has carved out a unique space that he’s remained true to, with little desire for reinvention.

A considered evolution from first minute to last, with no real enforced show in between, it may not be immediately obvious but by the end one truth remains clearer than ever, across a whole album--Mogwai can really do scale.

Just as the record threatens to get Too Much, as ‘How Do You Sleep Tonight’ wrings out its last notes, the crowning glory that is ‘Tonite’ kicks in.

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.

Messages from the deepest isolation are most likely to be a SOS or the increasingly deranged words of someone losing touch with their sanity. TFCF somehow manages to be both. Alive with unease. Shorn of every accessory, everything to mask the sharp taste, the familiar duality of Liars is starker than ever.

Perhaps album 20 will take them, whatever their name is then, fully back into the light. For now, ORC's darkness suits us fine.

With Holiday Destination, Nadine puts a critical magnifying glass over why we should do just that [fight for something better than what we currently have].

PVRIS might have been to hell and back, but a new era is here, and it’s utterly brilliant.

As a whole, Villains is the Californian filthmongers’ most danceable offering yet--and all the better for it.

It’s still immersive music for thinking and reflecting. It might lack it’s ‘Red Eyes’ but this record is filled with enough to satisfy any existing fans.

It might well be his most musically bold but thoughtful album to date, yet another stage in Obaro Ejimiwe’s fascinating evolution.

An swirling, abstract painting of an album, and an eclectic slow burner, Painted Ruins serves more as a fascinating indication of where Grizzly Bear could head next than anything else.

It’s an intense, dizzy trip that takes quite some digesting, but with brilliant results.

On occasion you may feel that Trailer Trash Tracys could benefit from keeping things a little simpler, but fans of the band’s first record have plenty to enjoy here.

On this debut, Jordan and pals aren’t afraid to contrast bravado with vulnerability, and it’s in the unexpected that their debut shines brightest.

Having made records with Johnny Marr and added all manner of elements to their sound, the band’s latest is a brilliant reminder that Ryan, Gary and Ross are at their most powerful when they strip back their sound to its scrappy core.

It’s an uneven listen, although that sometimes plays in its favour; Page’s vocal delivery is consistently unpredictable.

As might be expected from a mix with such sheer diversity, there’s occasionally a jump or a straight cut that’s a little bit of a jarring leap in sound, even for a club mix. A few occasional seconds of tonal whiplash are a small price to pay to go on this roller-coaster ride with Daphni.

With an utterly flawless, heart-twisting vocal throughout, America spins tales of sorrow and betrayal and turns them into something exquisite.

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.

Their ambition is never in doubt though, and Everything Now brings some of their most sky-reaching moments yet.

In digging back through music history’s treasure trove, Childhood have forged ahead into genuinely exciting new ground. They might have broken through with a bunch of other bands, but now Childhood don’t need anyone but themselves.

While a very strong album What Do You Think About The Car? definitely is, it’s impossible to extricate it from the songwriter himself.

Eucalyptus is a dense and challenging listen, but while it might alienate post-‘Merriweather Post Pavilion’ converts to Animal Collective, it might bring back those who loved ‘Campfire Songs’ but have felt disenfranchised since.

Witty, complex, and endlessly intriguing, Lust For Life is a painstakingly woven record from start to finish, with very few gripes.

Each track here, from the Argentinian horns and swaggering funk of ‘Angels / Your Love’ to the offbeat drumming and joyous vocals (courtesy of soul legend Charles Bradley) on ‘Grant Green’, it’s like a meticulously stitched patchwork of musical discovery.