Escape from Evil might not change the world (unless you live for slightly off-kilter Eighties-style pop records, in which case, you should be thanking Lower Dens immensely), but it is all the more impressive because of its unexpected accessibility.

Our advice, then: pick and choose via online outlets to get the best out of this album, as in this instance Dizzee’s mathematical skills have failed to calculate a formula for another must-buy release.

Awesome offcuts.

Other changes of note are a full remaster, which has actually made a palpable difference to the plumpness of the bass in songs like 'Hispanic Impressions', and three extra tracks, all released on split EPs prior to this album coming out. They haven't ruined it or anything daft, but also aren't cooking at the level of most of the actual album.

At 13 songs it's an eventful ride and one that takes repeated listens to really click but once it does, Ladytron makes all the right noises in all the right places.

In Each and Every One is a whirlwind of an experience that elevates as much as it does bury you in fear, you'd be foolish to write this off.

There are few traces of the musician Cooke has presented himself as previously, but if this is how he wants to strike out on his own, the comparisons to his other bands should be incredibly short lived.

The everything-but-the-kitchen-sink promotional campaign--an appearance on Made In Chelsea here, a cover of ‘Wrecking Ball’ on Dutch radio there--might smack of desperation. Fortunately, In the Silence is more than good enough to dispel any such impressions.

Sisterworld derives unity from its punchdrunk stagger, arresting the worry Liars had lost their command of atmosphere after "Drum’s Not Dead." They’ve soaked themselves in a new city and emerged renewed, once again.

Ultimately Spaces Everywhere is a record that sparkles with little hints of wit, unconventional beauty and musical verve, but they shine so brightly because of the mediocrity that surrounds them.

It's not got the immediate clout of Antidotes; and it's not one to spin when prepping for a party (it's actually kind of a downer, apart from 'Miami', which kills). But if you work with it, something really ghostly happens.

Silberman has crafted an enthralling, minimalist mood piece on which the barely-there nature of the instrumentation belies deep nuance and forethought, with tension and insecurity rumbling softly beneath the face-value serenity. Gorgeous.

By drawing from her vast catalogue of experiences, she finds the scope for an engaging range of musical tangents. Yet somehow, she has made an album which is not confused or disjointed.

This 2017 take on Eighties cinematic synth-pop is an unexpected joy in which to relish the impending political slime approaching us.

Their most well-rounded LP so far.

Senses pummelled and synapses shredded, Holding Hands With Jamie represents anything but an easy ride. But then reputations aren't earned lightly, and Girl Band have earned theirs as the most excitingly coarse noise rock outfit on the planet through sheer guts and tenacity.

‘Bows And Arrows’ isn’t a bad album, merely average, struggling to match the level of excitement generated by the brilliant single ‘The Rat’.

The album continues in typically strange style. However, despite the lack of musical progression, for some reason Screen Memories sounds, whisper it, on trend.

A bit like returning to your home town, it’s a little bit different but essentially the same every time, and there’s always something comforting about that.

They’ve refined their scope to create an album that you want to blast out of your car, your house party--or ideally a boombox having been transported back to a street corner in Eighties New York.

Not only have they made a better record than their debut, they’ve made one of the best records of the young decade.

Topics like institutionalised evil, war and greed are always valid targets and The Coathangers go for the throat--and draw blood--pleasingly and memorably at every opportunity. This should be their moment of glory.

Some will accuse them of cynicism, and they may be right, but there is enough intriguing material which is unarguably theirs here which keeps this an inventive and enjoyable pop-rock record.

Whether If It Was You or So Jealous serve as your touchstone for what this group should be, Sainthood is unlikely to leave you one hundred per cent satisfied. Which is good--in their own way Tegan and Sara are mavericks; that’s what always saves them in the end.

It pretty much wouldn't be a Silver Mt Zion record if it didn't have a pretty-much-impossible-to-understand conceptually connected section at one or more points. Tracks four to six fit this bill, being alternate spellings of the album title.

God is an Astronaut is the most human post-rock has ever been.

Short, but very, very bittersweet.

While Dulli’s working from his usual palette of muddy grooves, guitar-scree and leering swagger, the new album sounds more urgent and lucid in intention than its predecessors.