There are plenty of hooks here, but nothing to make a festival tent bounce like ‘Boogie’ or ‘Gold’ can. It’s a small criticism, though, on an album that resets Brockhampton’s compass and sees them straying away from the danger of implosion that ‘Iridescence’ seemed to suggest.

In trying to write an album for herself, she’s made one that will resonate harder than anything she's done before.

Clipping's nightmare is riveting, particularly during its sweat-inducing peak 'Get Up', which uses an alarm clock as a beat underneath breakneck verses.

Often ‘Saves the World’ is brutal in its specificity – with devastating effects.

Britrock's grumpy uncle has regained his gnarled spirit here and fans will feel all the better for it.

This peek into FEET’s trippy world is a often confounding, but on the whole this album is a giddy ride from a British band not afraid to push the boundaries of their own sanity – and, quite possibly, your own.

It was produced by Michael ‘Mike D’ Diamond of the Beastie Boys, though sounds like it’s held together with snot and sawdust, lending the record a sense of spontaneity that runs through all 16 tracks.

Endlessly fun, stuffed full of brilliantly left-field production and ear-worm choruses.

BTS are back doing what they do best – serving as both ambassadors and explorers, fuelled by curiosity and creativity.

From where we’re standing, it doesn’t sound like Gartland needs to change a thing.

These songs feel like the bratty little brothers of the likes of ‘Castaway’ and ‘Blood, Sex And Booze’ from 2000’s ‘Warning’, but with more of a snarl and a need for speed.

‘Harry’s House’ is undoubtedly Styles’ best record yet and presents a musician comfortable and confident in what he wants to create right now.

Only a joyless weirdo could deny that these are fearsomely well-crafted songs, as clean-lined and immaculate as a well-cut suit.

Itâ??s in its latter stages that Viva... truly goes stratospheric: on the magnificent orchestral pop title track, where Martin imagines himself as a deposed French king reduced to sweeping the streets; on the bruised â??Yesâ??, like Dandy Warhols and Depeche Mode lost in a desert duststorm; on the Satanic blues hymnal of single â??Violet Hillâ??.

Tracks like 'Oya', 'Think Of You' and 'River' have a sparse, ghostly quality reminiscent of early Regina Spektor or Björk. Innovative and comforting.

‘Affection’, then, feels particularly special for Bullion, a collection of alt-pop that deserves to be heard by the masses.

Throughout, Gibbons and her collaborators maintain a needling sense of unease that, when punctured, allows for fabulous melodic blowouts.

This album acts as a bookmark of his creative evolution, and its polished production work makes it a good representation of his musical identity thus far.

While De La Soul’s social commentary is incisive, at its core this is an album about David Jolicoeur and the space he’s left behind.

It hides more than xx did, sneaking its miserable joys behind bare spaces, surprise time signatures and subtle dramas. But listen after listen it reveals just as many treasures beneath its layers of shimmering sadness.

‘The Mountain’ as a full-bodied world-building affair; arguably their most rich and complete since ‘Plastic Beach’.

Despite the sense of chaos, there’s a level of sophistication and poise on show throughout. This record showcases Black Lips in a songwriting prime.

They find a balance with the old xx though. Fragility and self-doubt are still themes. Indeed, the highlight is Romy’s pensive, vulnerable ballad ‘Performance’.

Drawing influence across the board, it's a work that not so much mixes genres as smashes them into one visceral, jaw-dropping hybrid.

They seem driven by the joy of making music great again. It won’t change the world, but record is a wonderful world all of their own.

In what might be the biggest compliment I will pay any band this year, the thing that the album most reminds you of is the medley on 'Abbey Road', in the sense that it's hard to pick out individual 'highlights' in what is an endlessly evolving collage.

This is an album of long, mysterious love songs to get lost in for days--seek it out.

In a world where a cheap squirt of brass is enough to equal "a new direction", the Super Furries' free-range ideas-farming is a vital antidote to the preservative-pumped junk that curdles music's bloodflow.