A heady amalgam of Ibiza chill-out anthems and Carnival bangers, with poignant choruses and repeated minor chords, ACR Loco is a stomping reminder to celebrate the eccentric pleasures of life in multicultural cities and the liberating night life they offer.

The Ascension is a far superior and more ambitious album [than 2010 album The Age Of Adz].

Shore is a glorious, life-affirming collection of songs, a move to the centreground that shows his absorbing of musical influences is paying rich dividends. It has ‘future classic’ written all over it.

Epworth packs some interesting sonic tricks into this record, particularly the chaotic crescendo of interlude The Eternal Now, but overall Voyager doesn’t have the memorability or consistency to justify stepping into the limelight when semi-anonymity has served him so well.

Keys has pitched this album as genreless and, although the sonics are manifold – reggae, R&B, funk and even country – you get the sense that Keys has her eyes more on the narrative. There is genuine hope, despair, frustration and even ambivalence. In a world more in need of a key change than ever, we need this Alicia.

If you can get past the vocal onslaught and the occasional uneventful passage, it could prove more broadly rewarding over time.

Gunn’s perfectly snarling vocals amplified in intensity by the punchy production, it is a electric opener which sounds unmistakably PVRIS, just with a fresh energy.

This is not your average industrial metal album folks – this is a slab of repugnant, malignant noise made with evil intent. For all the hype and bluster surrounding the most popular metal acts, Uniform deserve recognition as one of finest purveyors of heavy metal (of any kind) anywhere in the world. They’re now six albums into their career, and they’ve never been stronger.

The album also reflects the rebellious nature of Haiku Hands, throwing two fingers to the male establishment through a sound which is provocative and tantalising, one which sets about establishing them as a new powerful female voice in the era of explicit pop.

It’s when the pop sheen is dropped and they head in a twitchy, darker direction that Hurts are at their most effective.

As with each album in the quartet’s canon, Re-Animator requires (and deserves) repeated listening. Once that is achieved then the dividends start to pay, and this darkly shaded album is revealed as a very different string to be added to the Everything Everything bow. The band continue to sound like nothing else around.

Manson has given his audience a collection of tracks that are stronger, tougher and better than they have any right to be. His ascendance led to the death of the original rock era, but his music is more vital and creative than ever. A stunning work.

Cafe Carlyle is the perfect venue for Vega, a small, bohemian and glamorous venue in Manhattan’s Upper East Side, and this fitting tribute to New York praising its riches, uncovering its faults and exploring its tragedy is as beguiling and incredible as Vega herself.

For the most part The Universal Want lives up to that triumphant return presaged in Carousels. Calling back to various touch points from Doves’ career to date, it’s a fitting summation even if not a culmination or a career peak.

Whilst it’s not quite in the same league as many of The Flaming Lips’ albums – not just The Soft Bulletin – it has plenty of worthy moments that can blossom in time.

The songs are generally short, befitting a short release, and sometimes the structural choices feel a little eccentric because of it, for example the abrupt end of Chills Me To The Bone. At times like this there’s a feeling that more could be done with the songs to make them feel complete, but as it stands Fall To Pieces is an intriguing sampler for Tricky’s present-day sound.

There’s no real new ground being broken on Agora, but it does make a good entry point if you’ve not been acquainted with Gilberto’s music before.

The album is brief, almost EP length, and doesn’t end nearly as well as it begins, but Spell My Name still features some great tunes and is proof that Toni Braxton’s smooth alto can grace a trap instrumental just as well as a Darkchild production or a slow jam.

Overall, it adds up to form an accomplished album that manages to be both outward-looking while also proud of its heritage.

Nothing As The Ideal never fails to entertain and covers much ground in doing so. It’s a case of which aspect do you like about the band at times, though: the metal side or the stoner rock side. You probably won’t be disappointed if you sit in either camp; equally, however, you may feel disappointed that you haven’t had enough of your preferred All Them Witches fix.

Another album imbued with wisdom and sharpness of mind, undoubtedly music for the slow lane. As a writer of quasi-autobiographical songs that offer uniquely considered observations on human relationships and general life detail, Gold Record proves he’s moving into a realm of his own.

Disclosure have always had an attention to detail in their production that gives the songs that much more depth, be it the irresistible breakdown one minute from the end of Douha (Mali Mali) or the fluttering arpeggios that populate closing track Reverie. And in this respect, as well as songwriting, structure and guest selection, they’re back like they never left.

Plum does little to rock an established boat. Going forward, consistency is the key Widowspeak must aim for, because if you took their top moments from across all five albums then you would have an absolute classic on your hands. Plum needed a larger smattering of their best capabilities to warrant repeated listens.

Musical diversity has been embraced to better reflect his character, whilst a positive tone remains, even when he’s examining negatives. No longer is McKenna a teenager emerging at Glastonbury, he is someone for the generation he speaks for to listen to.

Sometimes the music allows itself to just be childlike and wonderful, such as on the closing moments of final track Sue’s, but for much of Sun Racket, there’s a constant tension that makes these songs worth revisiting over and over again.

It’s atmospheric, after a fashion, but it feels overproduced and it’s often physically difficult to listen to.

The Baby is an album that, the longer you live with it, the more you grow to love it. It’s a debut that slowly winds itself into your heart, and promises even better things to come.

Flowers Of Evil is awash with religious imagery and allusions, snatches of mythology, and nature. The band is looking at the state of humanity and how progress doesn’t necessarily get us very far at all.