This album has its dancing shoes straddling very different musical camps and somehow manages to bind them together with skill and personality.

‘Timebomb Zone’s ugly rave onslaught strikes first – you feel the stretch of a wince appear. ‘Champions of London’ and ‘Boom Boom Tap’ follow up with a one-two punch; you never saw it coming. Maybe ‘Give Me A Signal’ would be a late highlight, and it is, unless you’ve heard ‘Higher State Of Consciousness’ more than once, or ‘Poison’, for that matter. You never stood a chance. The only reasons to recommend this record over its predecessor is that it’s shorter and doesn’t have Sleaford Mods on it.

There's still too much here which feels (and sounds) like filler, but when Jenkinson pulls it off it's as incomparably awesome as ever.

They may have failed in capturing the spirit of the Dadaists, but then it’s unlikely anyone would really have enjoyed that much anyway. What we get instead is two bands playing, not in opposition, but in perfect, complementing disharmony.

Angel Guts: Red Classroom is the typical blend of passion, pain and awkwardness which makes Xiu Xiu what they are. Fearless, demanding, relentlessly subversive.

With such a sprawling array of instruments on offer, Places Like This is surprisingly one dimensional.

‘Warnings / Promises’ is the work of a band pushing itself to the limits of its generous, but ultimately not boundless musical ability.

Octahedron lacks sparkle enough to raise it above previous creative highs--it’s a recommended affair, at times truly scintillating, but it doesn’t quite deliver to the extent where all caution can be tossed to the breeze.

Overall, Alive As You Are's sea change is perhaps just a little too severe to fully engage with in one sitting, and despite the band's insistence this record represents a significant step forward, its retrogressive veneer casts something of a bewildering shadow.

Although Stage Whisper comprises very much atypical pieces of music from Gainsbourg, it's still equally as lovable and interesting as her other works.

It’s an album that provides a taste of something familiar, yet somehow flavourless.

The Sunshine Underground suffers from muddled ideas and rampant over-ambition.

Siberia is... essentially a re-make of the Grey Album.

The music is exquisitely played, impeccably arranged and the lyrics are thoughtful and esoteric. The only problem is that it's a bit of a grower.

Galore is an odd proposition for a debut album. It feels more transitional than a definitive statement of who Thumpers are, and that’s a hugely exciting thing.

Bands normally falter in their attempts to create an album full of 'hits' instead of remaining true to whatever their mission statement is or artistic roots are, but this is clearly the field where PB&J excel--creating bittersweet musical moments that we will be compelled to revisit again and again.

So safe they remain for Slow Air--with the same airbrushed slick of 2016’s Dead Blue, Greg Hughes and Tessa Murray pare back the fog machines and phone in a mostly forgettable series of pleasant enough new wave, as distant and vague as the storybook rainforest on the cover.

This may be a more suitable album for a man of Iggy’s age to put out than his last, but that doesn’t make it a better one. Indeed the idea of an inoffensive Iggy Pop album seems itself almost offensive.

The 2003 Campfire Songs EP - re-released here in both CD and digital format - is at once an intriguing, beguiling and ultimately frustrating record. For a band certainly not averse to a little sonic experimentation, Campfire Songs remains Animal Collective’s most ambitious statement to date.

This really is a fantastic record, a heartfelt postcard from our old friends who formed a band.

Napalm is a long ass 18 track slog, and the pointless thug boasts scattered throughout the album.

Sometimes an all-encompassing desire to satisfy the album’s eccentric premise causes musical havoc. Alt-J have always revelled in a penchant for vocal distortion, frenzied percussion, cinematic strings, and reverberating synths - attributes they largely abandon in lieu of offering more traditional hip-hop elements. And sometimes it just doesn't work.

By and large, fans of We Have Sound will find a lot to love about Leisure Seizure, as Vek mostly remains true to the style he patented in 2005.

Psychedelia with a southern soul lean, it’s a seriously heady piece of music.

A solidly built celebration of interchangeable ordinariness.

The best love songs are the ones that make you want to dance and cry all at once; and Bad Love has them in spades.

The Leisure Society have certainly woven a kind of magic here, but with all their era-hopping it falls a little short of the climaxes of their live performances.

Although White People doesn’t break any of the barriers ‘So…How’s Your Girl?’ did, it is none the less a graduation.