It may be unpalatable and difficult but it is a debut album that should at least be commended for its dark, experimental ambition.

Without boundaries but with form, experimental and noisy but always totally listenable, III is one hell of a record. Psychedelic, maybe. Fantastic, most definitely.

Big Music sees them come out fighting with their best album in decades. Rather than appearing musically tired or bereft of ideas, they have real stomach for the fight, a resilience that looks set to see their star continue to shine.

Pay no attention to the hype--after all, it didn't do Vampire Weekend any harm--and sit back and listen to one of the most purely enjoyable albums of this year.

Quite what has held back the milieu of meandering morons that make up the music scenes mid range, mid class, middlemen is probably this intelligent and creative leap; crossing genres and keeping your opus open and fresh.

Tracks such as the title song and She Lays Down are redundant, bringing down what is otherwise a brave and eclectic comeback from The 1975, one that is sure to divide opinion once again.

Far more nuanced and textured than its two predecessors, it sounds all the better for it.

Calling on a series of well worn rock staples, King Tuff is a fine album that pushes no boundaries, but is quite content to get the party started.

Alive After Death is a record interesting enough to satisfy those with a taste for the transgressively predictable, as long as you don’t scrutinise it too much.

It's a hugely enjoyable record, with songs on it as good as anything the individuals involved have produced elsewhere. It's simply that high standards achieved elsewhere aren't consistently obtained throughout.

An album which is both fascinating and hard to listen to at times. Gag Order may not go down as Kesha’s best album, but it’s certainly the album that she has to make at this present time.

As a vocalist, she continues to command attention.

There are occasional moments of brilliance to be found of Flash Flood, often within the carefully crafted melodies of Enter Shikari's choruses, but all too often their lyrical angles and their almost pathological need to force genres together make for an uneven album.

Despite its flaws, it’s still an album that contains some of Dacus’ best work to date, even if the record itself is not her strongest. If you’re having withdrawal symptoms while waiting for the inevitable second Boygenius album, Forever Is A Feeling should sate you somewhat.

Romance Is Boring is a triumph, a glistening, breathless success. Musically and lyrically Los Campesions! are a rare treasure of a band at the peak of their considerable powers.

It remains an awfully good first effort, and the boys clearly have some exciting ideas - not enough to fill the entire disc, but exciting nonetheless.

JT has again done a fine job here. The 20/20 Experience shows the pop album isn’t dead.

As a whole, this EP is not a disaster by any means, and as such it's perhaps an exaggeration to call it a disappointment. But for those familiar with a body of work that's to date shown an impressively high quality control there's cause for concern.

An album that finds Wire once again proving that they’re still one of the most inventive and exciting bands around.

Kurr's claustrophobic sound causes a restless reaction. For all its fragile beauty, it's at its best in small chunks.

Detours may not be the most musically edgy album you'll listen to this year, but there aren't many people better at producing radio-friendly rock/pop.

Magic Pony Ride might not be the most ambitious record in the world, or in Paradinas’ discography, but the music accomplishes its stated goals and is enjoyable in the process.

Ward is one of this genre's best: playful, diverse, and endearing, he has the crucial thing needed to make it work: charm.

For the most part, this is a fizzing, fuzzing album that manages to sound both younger and older than the band that produced it.

Strangely, this record might be the first grower they’ve ever made, sacrificing some immediacy for subtlety and, presumably, greater endurance.

Lament is a deep and complex album. It is not so much a piece of music, as a work of art.

While a few of the songs could do with a harder edge, that’s not Salvat’s style. What he has delivered is a record that is heartfelt and tender, direct and emotionally challenging, while still sporting enough tricks and flourishes to fill the dancefloor with bangers to spare.

By the time Making Sense Of It All’s wobbly notes dissolve into reverb it’s clear that Overflow, while not entirely justifying its runtime, is a serious work from an intriguing producer.