It comes a little unstuck by the end of course, but overall this is a delight, going bump in the night in more ways than one.

Phoenix are no '80s copycats, but they occupy a sweet spot where influences and their own flashy banks of synths and treated guitars sound meaty and perfect together.

Fact is, though, the best metropolitan records are part gutter reality, part romantic fantasy, and so it goes with Panic Prevention.

There’s a lot to love about music that’s as head over heels in love with youth as Soft Will is.

Islands is as ferocious and catchy as ever. And while it’s undoubtedly a record of consolidation, a return to familiar home ground, it also gently scouts new territory.

Eels’ most complete and self-contained record, arguably the epitome of their ouvre and a record that places E – in his own gruff, xylophone-toting way –alongside the great downtrodden romantics: Cohen; Rufus Wainwright; Stephin Merritt of Magnetic Fields; Nick Cave.

If there's a quibble, it's an avoidable tendency to let songs drift into overtly tasteful territory, but on point, Ballet School do their heroes proud.

It’s unconventional but at the same time totally pop--a tricky balancing act Lidell just about pulls off.

Liberation may lack the grand ambition and massive pop bangers of her glory days, but by the end, it’s hard to deny that she feels reasonably relevant and contemporary again.

While we may never fully understand his inspiration, when his work is as colourful and inventive as this, it's a small sacrifice.

Crystal Antlers may be treading the same ethical path that bands such as Fugazi did, but it’s their ability to amalgamate and transcend genres with apocalyptic effect that makes them truly revolutionary.

The glammy, foot-stomping country bounce of tracks like ‘Greedy Soul’ make sure this isn’t a hoary dad-rock indulgence, but a totally 2017 rock record with its sights set high.

Greg Kurstin helped deliver everything both artist and mercenary label boss could wish for. Songs that are ultra-modern and instantly accessible, fun but never cheesy, experimental but rarely try-hard.

Their best album since their 'Dubnobasswithmyheadman' debut, Karl and Rick have pulled off a comeback in fine style and laid some demons to rest.

Elegantly-strummed slices of lo-fi Americana.

It’s arty, it’s farty, it’s at times strangely hypnotic and if you leave it on your record collection it will make you look really cool. If that’s your thing...

Cashback? Pretty close.

The two-piece create an irresistible sense of longing that’s more disarming than Donovan’s smoothest pants-off line.

Even if there's still a sneaking suspicion Angelakos used up his very best tunes on 2008 debut EP 'Chunk Of Change', this dewy-eyed record sweeps you up in its joie de vivre all the same.

The purely audio side collected on this debut album is artfully coiled Vampire Weekend world pop.

There’s nothing groundbreaking here, but little to be ashamed of either.

Being the K-pop chameleons they are, MONSTA X continue to refine and redefine themselves with every style and genre on each new release.

[A] collection of well-crafted bangers, most of which are begging to be blasted out of a subwoofer as debauchery rages.

Out of necessity, the sonic experimentation is braver, too, as if to emphasise the intensity of the feelings that Templeman examines throughout. The songs are immediate and involving.

Boasting their strongest set of songs for an age.

Some other stylistic choices prevent ‘New Last Name’ from being the disruptive moment it clearly wants to be – ‘Flex’ and its nod to ‘Mr Brightside’ (“now she’s calling a cab”), doesn’t quite land – but the album’s overall vibrancy doesn’t dim on repeated listens.

In the end, ‘More Chaos’ does exactly what it says on the tin: it’s overloaded, aggressive, and unruly – and that’s the point.

There’s impressive variety contained within ‘Dead Dads Club’ too. ‘Volatile Child’’s direct indie hooks throw back to the melodic smarts of early-Strokes; ‘Junkyard Radiator’ arrives woozy and disoriented in a drug-addled, psych-tinged haze, while ‘Need You So Bad’ rings with a gentle kind of euphoria.