They peddle freeform sleepy jazz with hypnotic percussion you'll either want to lie in front of for hours or run from screaming.

Beach Music will almost certainly push Alex G into the wider consciousness, and rightly so.

Although there’s a lot to enjoy here, with the band on something like the crisp, playful form of TNT, the best moments seem out of place and the rest a bit meandering; while previous releases have always felt thematically strong, even while jumping stylistically from Ennio Morricone soundtrack-isms and cool jazz to downtempo grooves and minimal drum and bass, it’s hard to pin down exactly where this is aimed.

The Triad edges ever closer to the purely experimental, with another tentative step rather than a bold foray into the electronica wilds, but for now it’s a worthy diversion from the well-trodden paths of other techno producers.

Gloriously free of filler, it would be an easy and enjoyable task to eulogise every track on Changing Of The Seasons but it seems a little brash to over-stamp opinion on such an individual and immersive listen.

The first disc (Niggas On The Moon) is not the finest thing Death Grips have ever put their name to.... However, the second half, Jenny Death, is better. A lot better.

A fun, varied and defiantly old-school record which is pure Coldcut.

So far so good--and if anything it gets better.

The whole sonic approach on Abolition Of The Royal Familia is at once a lot more coherent than The Orb’s previous record, the transitions between different genres and moods more methodical and well-paced.

Throughout, there are salient reminders that Metric, despite never quite breaking big commercially, are experts in writing a memorable tune.

Television is an essential purchase for fans of West African artists, but should also be investigated by anyone who loves heartfelt, impeccably performed music.

So the album sees Interpol trying some new things, leaning on some preconceptions and loosening some of the ties which have previously bound. And it makes Marauder an extremely rewarding listen.

Angst-rock is promised, but power-pop is ultimately delivered.

A perfectly paced album, but despite the elegant sequencing, there are definitely tracks you’ll come back to far more than others.

Overall, Happy To You is a solid if unspectacular second effort, one that disperses moments of brilliance with the occasional filler track.

This record is laced with intention and ambition, as well as a hunger and fire that keep it together, just.

The grace is still there, but something far more engrossing has now been added to the mix.

Sometimes Everyday Life’s restless quality can be its strength, at other times it makes the album sound unfinished. It does mean though that it’s resulted in Coldplay’s most interesting album for many a year.

Unfortunately, such small moments of inspiration are only peppered throughout, and they're not enough to make up for an entire album of ramblings.

In Ponytail, that long-ago art project seems to have spawned the real thing – a band with an imprint and sound all of its own, with much of joy to share around.

Nothing on 24 Karat Gold comes close to classic Fleetwood Mac songs, but long-term fans will delight in hearing decently recorded versions of tracks that they may otherwise only have heard as scratchy demos.

The album is largely built around two (very similar) styles, and can blend into one cloying whole, but this music is built for the summer. It’s tailor-made for being on in the background while you drink, dance, barbecue and copulate your summer away. On that level, it all works.

In common with a fair amount of Little Dragon’s previous output though, New Me, Same Us seems to work better in small chunks than as an album as a whole. There’s something about the smooth, glossy sound that means that, after a while, each song seems to merge into one.

Whilst each of these tracks was created to serve pre-existing imagery, the beauty of presenting Hecker’s compositions in this way allows the listener to create their own interpretations and visualisations. Shards is far more cohesive and affecting than its formation suggests it should be.

As usual the lyrics feel like they were written when stoned, but the music still shows creative engagement.

Blue Roses is a startling debut, a record that oozes warmth and charm whilst revealing itself slowly and patiently.

There’s more than enough contained within to confirm Butler’s genius at resurrecting the early spirit of house music. This will be the soundtrack to many a party over the summer months.

Not giving a little more is a problem that hangs over the end of the album, and for some of the more rabid fans of The National it’s something that they’ll consider a problem for the entirety of Return To The Moon. There are some bright and poignant moments here though, but, like the majority of The National’s work, the depths of the album may take a while to become apparent.