Throughout, they still manage to delve into the perfectly-formed vignettes and clear-cut imagery that litter their early efforts, but the striking instrumentation allows their lyrics--and more importantly, their stories--to hit that much harder, making Holy Ghost a truly brilliant full-length.

Oh No doesn’t quite signal a reinvention for Lanza, but a move towards one end of her capabilities, one which consistently brings excitement, energy and openings for new paths for her to head down.

Coupling a dexterity honed over countless live shows with a wry sense of humour, with Down In Heaven the band find their own slice of paradise, primed and ready for anyone else who wants it too.

Musically you always know where you stand--the sound of a Death Grips record is unmistakable--powerful, aggressive and confrontational. Which leads us on to Bottomless Pit--very much more of the same, while pushing their sound forward.

Beyond anything, A Moon Shaped Pool feels like the beginning of a new chapter--the first time these five have merged their own idiosyncrasies without compromising or crossing wires.

Their debut documented pure, unrelenting struggle. Ullages finds a way out. Mitchell remains a captivating frontman, but he’s an entirely different blend to the one we knew before.

With Alas Salvation, they’ve set a marker for every borderline-insane newcomer emerging in the next decade.

James’ voice remains the deserving centrepiece. Still fragile, but now sounding more confident than ever, those pipes sound warmer and thicker than ever before.

As If Apart follows the template of his similarly bucolic 2012 solo debut ‘Overgrown Path’, shrouding his loosely constructed songs in a shimmering lo-fi shroud that makes everything sound as if it was recorded on his front porch, which it almost certainly wasn’t.

Hopelessness is an exercise in provocation. It’s anti-apathy, determined to stir thought, even if that’s total disgust and dejection.

Collaborations here, there and everywhere, for the most part Kaytranada pulls the strings. But it is a work that threatens to find him in the shadows, leaving the spotlight to bigger names.

There are just a few too many of these aggressive, tumultuous ballads and the result is each one loses some of its power every time another crashes into being. Moments where LUH lose their way are compensated for by the flashes of brilliance littered throughout.

Fast forward several years, and we find Will, her first record since 2013’s ‘Nepenthe’ both taking her music further into more straightforward terrain while remaining doggedly, indelibly weird.

White Lung push themselves to every corner of the universe on Paradise, presenting a beautiful vision of 22nd Century pun

Yes, at times it does drag a little and--though clever and often charming--the content isn’t particularly inspiring.

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

White Hot Moon is unassuming. It doesn’t start out or end with a defining statement but somewhere along the ride, the grind of day-to-day life is drowned out in a synthesis of reflection and fuzzy warmth.

In a year when the world’s biggest artists have put their necks on the line--Rihanna’s leave-me-alone, independent streak of ‘Anti’, Kanye West’s scatterbrained ever-changing doodle ‘The Life of Pablo’--Beyoncé can count herself as a risk-taker breaking new ground, up there with the bravest.

This is not the most cohesive body of work, granted, but oh man does it have some total bangers.

While Muncie Girls might tread relatively familiar musical territory on From Caplan to Belsize, it’s Hekt’s acerbic, no-frills lyricism that shines brightest.

Genres fall by the wayside as krautrock melts into a studied and dense electronica, and pulls either towards the tenseness of post-punk or the hazy surrealism of shoegaze.

Definitely an album of two halves, by the time you hit ‘Ferris Wheel’ and ‘Destroyer’ the record drifts off into Dylan-isms that while are nice enough, don’t carry the same idiosyncratic weight of ‘Singing Saw’ or ‘Drunk and On A Star’ that will some day carve out a classic from this hugely promising talent.

Asking familiar questions in downright bizarre ways, with a musical palette that continues to revel in awkwardness, slipperiness, and experimentation, Cate Le Bon is a dab hand at holding a warped mirror up to life, and reflecting things in unexpected ways by now.

There are moments that long for something that once was, but those moments are fleeting. In its own terms, PersonA is largely an impressive album but there’s still some way to go yet.

This isn’t the best or the bravest music of her career, but Harvey continues to pave new ground. This time, she takes that responsibility very literally, exploring new places and inviting listeners into her strange universe.

Yhis is a band tight enough and confident enough to know they can take anything, and anybody, on.

Loaded with more jingles than a sleigh at Christmas, Brilliant Sanity is synth pop at it’s most intentionally addictive.

It feels ecclesiastical, like hymns for the digital age.