Well, in many ways it follows the same tried and trusted formula of their previous three albums - dramatic, emotive and melodic, with guitars very much the centre of attention. Yet this time around the band have progressed to produce a more varied collection of tracks.

A great album full of songs both uplifting and danceable, emotional and cerebral.

A tough collection to make friends with, Denies The Days Demise can infuriate and delight in equal measure, often on the same track.

Like the best Black Keys songs, the band’s tracks hold up independent of their pristine production as examples of how to combine undeniable talent, a love for the past, and a personal story to create a sound that’s simultaneously throwback and unique.

For a debut album, there’s remarkably little filler to be found, and you can’t help thinking that this is just the beginning, and that’s there’s an awful lot more to come from Wishy.

Blanck Mass’ style approaches speedcore in places, but Power ultimately creates music more nuanced and vivid than that genre label ever facilitated, and as such this album is highly recommended for all fans of experimental electronic music, as well as the noise and industrial side of things.

Exai shows they still occupy a special position in the current generation of forward-thinkers, producing music that couldn’t have been made at any other time other than now, unostentatiously trailblazing a path for others to follow in.

Nothing quite prepares you for the sheer beauty of The Magic Numbers' music.

It might not be the explosion many were hoping for, but Progress sees Take That exploring and experimenting.

In trying to make himself standout as an individual, he may have gone too far on his album GOB and scared off any potential mainstream listeners with his far-out style.

This is a brilliantly ambitious, exploratory recording that captures the pure, powerful vibe of a great ensemble.

Strangely enough, as short and freespirited as the tracks are, the album itself is a behemoth that takes some listening dedication to unwrap and to assign meaning to--and it's an effort that's well worth it.

Where Do You Start is, in addition to being a superb showcase of these musicians' technical flair and expressive confidence, a typically thoughtful, informed and intuitive statement.

The riffs are crushing rather than classic, and Andrew Drury’s vocals are full of conviction and spirit but perhaps a little one-dimensional. But for anyone with their toe already dipped in the metal bath, and in danger of selling their soul to the preeners and posers, Baptists might just be their saviour.

Certainly there’s something mystical at work here, but, as with the rest of the album, the real fun is to be found when fully immersed in these hypnotic grooves.

Even though this is her ninth album, she still sounds fresh.

It’s all rather wonderful nonsense--playful, engaging and not always entirely successful.

The Blue Hour has finesse, sensitivity and lightness of touch: all the hallmarks of a great modern classical album. In Federico Albanese, we’ve got a new name to watch out for.

It seems a blinkered record, which can be admired for its defiantly non-commercial stance. It won’t win Fearless any new fans, and may distance Death In Vegas into more of a cult concern. All well and good if that’s the intent; otherwise, perhaps it’s time to draw the curtains, get some vitamin D and thumb through that ‘guest vocalist’ address book.

Splitting I Don’t Care Pt 1 and I Don’t Care Pt 2 into two separate tracks makes sense; one is jerky and aloof, the other stumbling and awkward, and they make nice companion pieces. But putting the two tracks either side of the aimless piano noodling of Hank’s Theme is a mis-step. That said, there are some excellent songs here, like the bristling, melodic Viper Fish, the frenetic Cracker Drool and the brash Country Sleaze.

Bad Contestant is full of strange little pop songs that can delight and subvert in equal measure and makes for a pretty startling debut, all in all.

A thoroughly engaging addition to Willner’s already enviable discography.

Reflect. Time. Loss. achieves its aim handsomely, with many a moment to stop the heart of its listener, in doing so adding another dimension to Maps as a musical outfit.

Memoria is a substantial listen, and could probably be broken down into two shorter LPs of different styles, but its creative verve provides quality as well as quantity.

Unprecedented Sh!t is the sound of an artist with plenty of fire in her belly and with much still to say.

As they sing in the closing track Fresh Meat, “the past is catching up again”, and maybe its that sense of time moving so quickly that makes this chaotic, exhilarating and often perplexing album such a compelling listen.

Highly accomplished, elegantly performed, wonderfully sung, this is an album by a master craftsman using his keen ear to create something beautiful. The man has never missed.

An album that should find favour with listeners from across the broader musical spectrum.