Their fluctuating randomness trails away from scattered innovation and colourful variances in pitch and tone to become interchangeable noise. Without sufficiently varying their distinctive sound, they still serve a herbal tonic for the senses, even if there’s a decidedly bland aftertaste this time. Still, at least there are some nice vinyl options to put away on the shelf.

The truth of The Sound Of Yourself is that it is a sometimes confused collection of songs, almost as though it were two albums co-existing in one space. ... However, the quality across the board in these compositions is consistent and the sound of McCaughan in this kind of form is always a delight.

By the time the melancholic Schoenberg soprano has drifted into the ether at the end of The Abandoned Colony Collapsed My World, you’ll be ready for a repeat listen – although you’ll hear so many different elements the second time round, you’ll wonder whether the album isn’t secretly mutating whilst your back’s turned.

This album works best at moments like this, sweet and soothing – not exactly ambient, but soft and comforting like a nest of scatter cushions.

The whole album is delivered with great assurance and feels instinctive, Moderat effortlessly rediscovering their mojo as a band. They may have had a break of half a decade from releasing music, but MORE D4TA proves they have never really been away.

The sheer brevity of the record means that it doesn’t really feel like a ‘proper’ record as such, but it’s still a lovely listen.

An envelope-pushing record, admirable in its ambition even when the thread gets a bit lost.

There are a couple of tracks that veer towards the forgettable, and the overall downbeat tempo of the album as a whole may test the patience of some listeners. ... Yet even on the less memorable songs, Merchant never sounds anything less than completely captivating.

It might not be as cohesive as some of her earlier work but The Age Of Pleasure is still an album that bristles with energy and boldness.

Weedkiller is the sound of an artist actually excelling in multiple fields with apparent ease. In a landscape where rap is diversifying and artists like Ice Spice and Sexyy Red are achieving notoriety, Ashnikko is a leftfield force to be reckoned with.

Big Anonymous is a deliberately paced album that some may find a bit too bleak to visit often. It’s beautifully crafted, as you’d expect from Sarah Assbring, but at times that darkness can become a bit all-consuming. If you’re in the right frame of mind though, El Perro Del Mar’s world is one that’s well worth stepping into.

The Weightless Hour feels a natural successor to the sadness and grief of Snapshot, but with an added sense of hope and rebirth. It also has all the elements that made Howling Bells such a satisfying listen, while being a sufficiently different experience.

It may not have the single-minded focus of All Of Us Flames, or the striking ambition of Transangelic Exodus, but it’s another startling record from one of the most exciting songwriters around right now.

For in spite of the occasional loss of focus this is a sonic melting pot, welcoming all styles and colours that interact with the legendary producer’s instincts. If only life itself were so inclusive.

It doesn’t quite compete with their very best albums (Ignore The Ignorant and Men’s Needs, Women’s Needs, Whatever) but it’s at least as good as the next tier (The New Fellas and For All My Sisters). More than anything else, Selling A Vibe is a fantastic entry point for new fans to get on board.

The overall feeling is of a Drake record weirded out to its absolute extreme.

Overall, while II is a success, it’s just not quite the great record it should have been.

Open Door Policy is quite possibly the best Hold Steady album since 2008’s Stay Positive.

It takes you on something of a journey, veering from country to garage rock to something almost literally out-of-this-world.

There may not be a big crossover hit on the album, but that doesn’t stop Moonshine Freeze sounding like the best record of Kate Stables’ career so far.

It means Nick Cave & The Bad Seeds end the year as they began it: demonstrating they are a band in very fine health.

Some may say it doesn't move Depeche Mode forward a great deal; I say I don't give a damn, it's a real treat and I'll have some more, please.

It may not always work, but when it does, M.I.A. can still sound like the most exciting pop star on the planet.

It's good to see this album released, but whether the meeting between Costello and Toussaint has produced anything of greater note that their individual achievements, I'm not convinced.

This is the most consistently impressive Beirut record yet, proving its creator is now able to harness his occasional excesses and directly engage with his audience without losing the invention and flair that make him such a rare talent.

It’s true that General Dome won’t be for everyone, but Dyer and Sanchez have certainly assembled an interesting creation.

Better Dreaming feels not so much like a reset, but as if they’ve rediscovered what made them such an exciting prospect in the first place. It’s resulted in the best Tune-Yards album for some time.

Anyone enthralled by the previous album may feel there is something missing here. Instead, what we have is the true expression of the artist finding salvation in musical release and forging new paths using established forms.