Molchat Doma are having a blast reclaiming their heritage and proving themselves to be a more than an entertaining chip off the old Bloc.

It’s an album that’s full of poise and confidence, which bodes well for her future.

AC/DC do their thing, and it works.

Over three tracks in under an hour, the microtonal performer traces a luminous and defiant path against the historic threat of religious tyranny, delivering a provocative expression of devotional purity.

Monument is a record that you’d wish didn’t need to exist. But its staggering, sobering beauty will linger in your mind long after its 55-minute running time elapses.

The adoption of low energy, skeletal electronic instrumentation serves to shine a light on her often brittle and vocoder cloaked vocals. A sensation of emotional fatigue circles above proceedings, as the music elicits the haunting effect that this ongoing lack of human intimacy is having on all of our psyches.

They’ve produced one of the very best albums of the year, despite the long gestation period.

This is an astonishing work, one that highlights Kanaan’s remarkable worldview, that you’ll unconsciously find yourself gravitating back to, time and time again.

Contemplative and unstable, the record is a 12-track paean to the benevolent act of taking domestic solace in retreating. ... William Basinski is back within his element, and we should take all comfort in that.

Whilst the record is without doubt clamorous, murky and often times boisterous, it’s in no way petulant or immovable.

Adulkt Life prove middle aged doesn’t mean middle of the road.

Tunng presents Dead Club may be their darkest album to date but it is arguably their finest too. ... A creative peak even for a band with more than 15 years’ experience together.

Earth To Dora finds him in a relatively peaceful place – and it will have a similarly calming effect on Eels fans too. More than 20 years on, this band are still very good at what they do.

Loftin and his colleagues have succeeded in creating a mood of joy and togetherness.

Confetti is a dependable album with recipe staples, but to keep future interest piqued, something new is now required in the mix.

Minogue more than holds her own here. The sound is largely fresh and pays genuine homage to carefree nights at the disco with gusto, charm and flair, all qualities that Minogue has in spades.

The structure of the album is beautifully crafted, with each of the tracks like pages of a calendar that detail Croll’s life, presenting a personal diary window of sorts into his world.

Generally it seems Dizzee fares better when bouncing off others’ contributions. This makes E3 AF a step in the right direction, and while it doesn’t quite display the finesse of his first three albums it’s a welcome trip down memory lane.

Packed with oodles of overdrive and a dissociated, ambient feel, Sour Cherry Bell is another enjoyable release from an artist who is rapidly reaching the top of the dream-pop scene.

Both artists possess in spades the ability to make affecting, heavyweight emotional music. This emotional intensity and willingness to continuously explore the possibilities of sound (heavy or otherwise) is what May Our Chambers Be Full pivots around over the course of these seven incredible songs.

Positions is a perfectly fine light pop/RnB album by the numbers, but Grande’s relentless work ethic over the last few years means that the shine on her songs is starting to dull a bit.

As uneven as Hey Clockface can become, there are still enough reminders of Costello’s genius scattered across the album. After all these years, his aim is still mostly true.

Musically, it’s more ambitious and further reaching than any of Brun’s previous records.

The decision to feature Marcus Mumford of Mumford & Sons on Lay Your Head On Me is baffling but not disastrous, as a soulful guitar lick dances around earnest vocals about honesty and intimacy. Trigger featuring Khalid is woefully boring, his low-key delivery rubbing up against sludgy chords and a weird mixed metaphor in the hook. Rave De Favela is by far the best track of the record, with hard-edged 4×4 beats, novel sound design, infectious syncopation and lively performances from MC Lan, Anitta and BEAM.

For all of its strengths, the album is somewhat let down by its monstrous length – 78 minutes, to be exact. That’s not to stay that Cunningham and his collaborators can’t hold the listener’s interest for the entire running time (they can), but that the whole experience can be overwhelming and a little draining.

Love Goes wallows too much in its comfort zone to be truly memorable.

Yet another indication that Ty is going from strength to strength.

Lopatin dispenses with radio’s interchangeable verse chorus verse format, instead replicating the labyrinthine ways the internet once promised formerly unreachable music might become graspable before being commoditised.