Good To Be Home lives up to its title and is easily his best and most consistent release since Below The Heavens.

The band have once again found their sweet spot.

For the most part, the rest of the album is less head-turning, which that can translate to forgettable. Still, it's about time Taking Back Sunday shook things up, so the high points make Tidal Wave an effort that should please dedicated fans and appease the sceptics somewhat, as well.

Striking a balance between sinister and comforting, it's a compelling sign that Cold Specks remains an artist to watch.

Although many songs lack the fire and passion that defined his earlier work, with the exception of the race-relation lyrical content of "What's My Name?" and the growling "Snake Behind Glass," Four Lost Souls is simply unlike anything else in Jon Langford's sprawling discography.

Metric have created from a point of questioning who they are as a band and what they have to give. Their new album is an exercise in dispelling that doubt.

There's nothing especially innovative or unique about Handfuls of Night, but what it does, it does very well and should find great resonance with fans and filmmakers seeking some palpable sonic gravitas to help sell an emotional scene.

For better or worse (mostly better), None of Us Are Getting Out of This Life Alive captures the feeling of the Streets past, while laying out a path for its present and future.

At Best Cuckold is a strong cohesive whole, a sum of all its theoretically disparate parts, and one that wears its idiosyncrasies proudly on its sleeve.

Simply refusing to be pigeonholed, the Danish producer has managed to stray even further from the lively electronic style that was his making.

Surprisingly, Jidenna makes it work, commanding the listener's attention from start to finish.

A powerful return to form.

Uptown Special is unapologetic in revelling in its musical influences and ultimately represents a light and mainstream-friendly primer to funk and soul.

Sundowner's glow begins to fade in the album's latter half. The final two tracks, the instrumental "Velvet Highway" and "Provisions," are pleasant enough, but taper the album off on a muted note. It's a minimalist ending showing that less isn't always more.

All in all, The Now Now feels fresh and present. Gorillaz have performed a type of sonic reset by stripping back their cast of collaborators, yet it exemplifies the strength of the songwriting at the group's core.

This is the closest thing you'll get to an aural Scandinavian spa.

While Higher Power isn't a perfect debut, it's a strong statement of purpose from a band that clearly have a rock'n'roll heart.

The added bonus is the way this release is inclusive of the familiar textures of more poplar electronics. It's wide open and intelligent, and comes highly recommended.

He's as strong a songwriter as always, but it feels like there's a deeper sense of purpose this time around, and it makes for a beautifully gratifying experience.

If previous King Krule efforts could be accused of sad-boy narcissism, Man Alive! shows that Marshall's gaze has never been entirely directed at his own navel. Despair is still there in his songwriting, but so is the capacity for change.

Though they won't repeat the trick, Diana plunder '80s-aping blog-pop and find surprising riches in a long washed-out gold mine.

The lyrics are murky--there are none of the plainspoken tales of domesticity that Lennox used to specialize in--but the burbling soundscapes and soaring pop melodies are gorgeous.

Paracosm floats by like a wonderful dream, from which only the most jaded music fan would wish to awaken.

While it's easy to go overboard making an album like this and lose a track by burying it in too many samples and obscure references, Projections keeps its focus, and balance, by never using more than necessary.

While his source material is firmly rooted in the past, Petestrumentals 2 makes a couple of more contemporary statements

There's Always More at the Store is a solid addition to Holland's discography, and hopefully there is indeed more where this came from.

The Districts leave their comfort zone on You Know I'm Not Going Anywhere but yield results that are almost always fun and engaging. As a project with transition and discovery at its core, You Know I'm Not Going Anywhere nonetheless feels rooted in authenticity.

Tricky has injected so much raw emotion into Fall to Pieces that it can't help but stand out as one of his most notable, memorable and authentic releases.