A Bath Full Of Ecstasy might be a somewhat eccentric name, but it ultimately does sum the album up rather well (assuming it means the abstract emotion rather than literal pills stacked up in a bathtub): a lush, adventurous experience, immersive and refreshing.

Write Me Back won't totally please R Kelly fans who crave the silly pleasures of Trapped In The Closet, but it is without doubt an excellent record.

Jaws have created an album that should see them breaking away from B-Town, heading for sunnier climes and finding themselves.

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

While that development may take some by surprise, Melophobia finally sees Cage The Elephant realise their full potential.

The band have assembled a great selection of tunes that showcase a wide variety of styles, and Deleter is highly recommended for those on the intersection between electronica and rock.

It may not quite reach some of the highs (or lows) of its predecessor but it more than compensates in both its consistency and variety. It offers proof that stories of stagnation and decline in everyday life can still conversely inspire music of great value and beauty.

While Homecoming could hardly be described as a massively commercial record, it’s certainly Du Blonde’s most accessible album to date, and the short running time means that it never outstays its welcome.

Maraqopa is, at times, a sumptuous sigh of a record, the sound of a man exploring a territory he's earned the right to claim as his own.

At times it may seem like the most depressing easy listening record you've ever heard, but there's plenty of depth and deft touches here to make it well worth checking out.

The Magic Whip succeeds splendidly in coming across as a comeback album that hasn’t been overthought, flashing a nonchalant dare to any prospective Oasis reunion project.

While what Clean Bandit are doing is incredibly interesting, it’s probably premature to say that they’re harbingers of musical enlightenment. They may, however, be the heralds of super-duper/boogietacular parties across the summer.

The album is a triumph and a testament to the enduring creativity of Warren Ellis, Mick Turner, and Jim White. This is a truly wonderful album from masters of their craft. Enjoy it loud, and often.

When all is said and done, Ask That God is the Empire Of The Sun album you would want to hear at this point. It is Nick Littlemore and Luke Steele finding their familiar chemistry, doing what they do best, and providing sun kissed pop that we can sing and dance to, pure escapism when we need it most.

These versions serve to highlight what we already knew, that Zola Jesus is a phenomenal talent. To have these songs reworked and in some cases made even more powerful than the original counterparts is testament to the skills and attention to detail of all those involved.

My Head Is An Animal deserves the attention it is getting, because it is a well-crafted, spirited debut album with soaring choruses and delicious harmonies.

What Disclosure have done really well here is kept with the style that has rightly made them huge, honing their songwriting skills further in conjunction with a group of very well chosen collaborators. Caracal, then, passes the test.

The songs on Once Upon a Little Time bloom as slowly as lotus blossom, their graceful colours and subtle variations revealing themselves gradually.

It would be a shame if S.C.U.M cannot escape from the oppressive prison that preconceptions have built, because Again Into Eyes is worthy than a better fate than that. Honestly. It's well worth a try.

Given its very nature, this is an album that is more suggestive than it is demonstrative, with attuned, nuanced performances creating a range of colours and sensations.

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.

Whether All Them Witches’ fans will approve in droves is unlikely, but instead of burying their heads in the sand maybe they should embrace the bands continuing evolution because at times it’s simply spellbinding.

The Lucky Ones is unlikely to garner any new fans for Mudhoney, which is a shame because this is one of the best albums of their career.

There was a lot of pressure on Matthew E White to deliver something as good the second time around. Yet the expectation appears to have hardly phased him, as Fresh Blood reaches similar heady heights.

Free of the patronising condescension that many Western musicians adopt when they embark on musical journeys like this, Victoria Bergsman has produced a marvellous, spell-binding album.

Collaborations may not work for everyone (hi Metallica, rest in peace Lou Reed), but this is one that certainly does.

This is the best Warmduscher album, and arguably the best album produced by anyone from the Fat Whites stable since 2017’s The Moonlandingz debut.

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.