The (mostly) astoundingly energetic Family is further justification of this band's fast rise and an album The Cast of Cheers can be proud of.

Jukebox is an unsurprising album. It sounds exactly how you'd expect–-classic, but not overly well known, songs, like Dylan's 'I Believe In You,' squeezed by the Cat Power sound into tracks that sound like they could feature on "The Greatest."

Transverse is an exhilarating collection that becomes a new listening experience on every subsequent hearing.

For longtime fans, a dubbed-out Grace Jones begets an exotic retelling of her myth, like painting a Sherman tank in watercolours - sure it's pretty, but under those runny dub brushstokes is hidden a killing machine.

While they may never lose their tendency to peek over their shoulders and tell of the heart-filling past once in a while, and nor should they, it seems that Allo Darlin’ have decided that a step forward can bring a greater, more tangible joy, and for that, they should surely be celebrated.

Arc is an album with which deep engagement will reward and delight in equal measure.

Assured, short and ultimately sweet, Friendly Fires is a glib reminder that you don’t need an M6 underpass, New York penthouse or guestlist to have an all night disco party, and remind us there’s no shame in getting your groove on.

Carrying almost nothing in the way of flab, Blood Red Shoes is the band standing entirely on their own four feet--a rare occurrence in modern music. They've not reinvented the musical wheel, but their strength as a unit, and as musicians, cannot be doubted.

It’s kind of sloppy, but it also sounds pretty astonishing cranked up loud, and despite the mixed emotional messages I suspect it’ll find its calling this summer as the band’s most fun album.

‘You Are The Quarry’ sees Morrissey back in the ring, lean, limber and fighting fit.

Raving, romantic and graceful, it's what might happen if Britpop had gone to finishing school, and even includes a final guitar treat for anyone who tuned in the hope of another round of Olympian.

The Habitat EP shows the heart of a band who are effortlessly versatile and willing to mutate, experiment and push in whichever direction they goddamn please.

It’s a talent for smallness in spite of showy surroundings, an Englishness that’s as convincing as anything Jamie T, Mike Skinner or Lily Allen has produced, infiltrating the upper echelons of the American music establishment.

His third studio album, Astroworld, feels like the grand opening of a vision that took a half-decade to perfect, still using the same psychedelic synth warps, diamond-cut drums, and reptilian hooks that initially skyrocketed him to stardom.

The album is called I Want You To Destroy Me and all it wants to do is live.

All of Cass McCombs' deliberate ambiguities add up to a beguiling character worth shouting about, even if he's not willing to do it himself. Give this album a spin and join its gently strident fan base.

With Trans Love Energies, Death in Vegas do well to avoid such pitfalls, instead creating an album that is musically and thematically filled with space, both roomy and outer.

From high drama to mystery, tension to grandeur, just about every feeling and emotion is touched upon in the 34 tracks on offer. It doesn’t matter whether you’re a seasoned gamer or simply interested in the genesis of electronic music; the innovative, evocative sounds on offer here will transport you to distant, vibrant pixel-based lands.

Andy Stott seems to be evolving with each new EP, and scales new heights with this one.

When they do finally depart after a handful of shows later this month, Woman's Hour find themselves in the fairly unique position of having a small but well formed catalogue of work that's near flawless. As a result, Ephyra is a fitting epitaph.

What Shobaleader One does is strike a finer balance between the accessible and the surreal than pretty much all of Jenkinson's previous releases. It retains all the elements that are recognisably Squarepusher but manages to filter them through this newly polished lens and thrusts it into a new, invigorating stream of light.

They have always had an unabashed sensibility for writing three-minute pop songs and this record is stuffed full of them. The Futureheads have made exhilarating order out of The Chaos.

Stanger Today is the sound of a band doing what they want, knowing how to do it and, most importantly, having a blast doing it.

Dare’s vocals have lost none of their emotive brutality; the juxtaposition between his delicate voice and the brutal messages he conveys still fascinates, just as his experiments with heavy synth and drone alongside a solitary piano sound impossible, yet somehow work.

A beautiful mix allows the elements of each of the tracks to truly breathe and settle in their own spaces.

Their output remains honest, unsullied and socially conscious--it’s still got all the bark and bared teeth of a Boston terrier, and the drinking songs are still out in force, but there’s a message of hope at its core that espouses all the values that are held so dear to the contemporary punk scene.

You’ll need a breather or two, for sure, but that’s the nature of great horror, regardless of what supernatural forces you choose to worship.

When it's at its best, After Roberts harbours a brave sense of adventurism, a fearless experimentalism. And yes, it can sound like a million other things. But more often that not, it's just the glorious sound of nothing else.