Hardcourage steps on from the broken UK garage rhythms that typify much of FaltyDL’s earlier work and into the sort of soulful, pleasurable house grooves occupied by the likes of Four Tet and Jamie xx.

It works, up to a point, but means the whole smooth and romantic-sounding affair, though not quite boring, lacks that special spark.

This follow-up to April’s excellent ‘More Than Any Other Day’ debut is a scattergun 24-minute journey, and its every destination is a delight.

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.

Seventh Tree is bound to ruffle a few electro-feathered fans, but there’s no denying it’s a venture that sets the pair into new experimental territory.

Often shocking and consistently, unapologetically direct, every word and note here is positively swollen with meaning.

Spirituals’ gets more brutalist as it goes on, weaving its way from tropical space-pop through cosmic reggae to the gothic R&B cranks and coils of ‘Ain’t Ready’ and, finally, to ‘Fail First’, a wonderfully New Order-ish concoction of indietronic chug, industrial grunge guitars, spectral cheerleader chants and punkoid yells.

Wander no more, Lanegan. It’s clear to see that, with Soulsavers, you’ve found salvation.

Ghostface calls upon most of the remaining Clan members, switches the formula occasionally and hey presto, yet another minor Wu-Tang classic 20 years on from their debut.

If your relationship with Sonic Youth chiefly consists of boozily chucking yourself around to their sprinkling of indie-disco floorfillers, you may be surprised to know that Thurston Moore can 'do tender', let alone do it very well.

Through glowing stasis and solemn ceremony, Divide and Dissolve’s sonics of despair and destruction have been crafted into a remarkably life-affirming experience, and it’s never been more needed.

There’s really something for everyone here; they embrace winning ways but also dive into new realms too. Many bands have chartered these waters before, but nobody does it like Parquet Courts.

A brilliant, invigorating reintroduction.

The resulting album is a total knockout.

On ‘The Prettiest Curse’, they’ve taken their sound and unashamedly experimented with it. They’re all the better for it.

Teyana Taylor has finally delivered a record that scratches far beneath the surface of her persona as she triumphantly prioritises herself, from her sexuality to her vulnerabilities. In fact, it feels as though, on ‘The Album’, her vulnerabilities are her biggest source of strength and clarity.

Whether she’s playing loser or victor, the swathes of frenetic energy that buoy every note are always present.

Showcas[es] Rufus as one of, if not the best songwriters of his generation. [19 Mar 2005, p.59]

Having developed their sound over six albums and finally tossed the carcass of previous band Red Red Meat, these super-sized ideas are Califone’s primest, most satisfying to date.

Cease To Begin is the second album by this trio from the foothills of the Appalachian mountains and, with angel-voiced lead singer Ben Bridwell at the fore, it's a delightfully soothing record.

A reverence-inspiring return.

Overflows with pristine melodies, sugary harmonies [and] a barely-definable sense of heartbreak. [3 Jun 2006, p.33]

On ‘TYRON’, Slowthai roars.

The record fares better when it shoots for genuine experimentation, like on the weird, spacey ‘Lavish’; otherwise, ‘Clancy’ is more often than not the sound of a band spinning their wheels, caught in a strange space where their colourful conceptual ideas are being painted from a beige musical palette.

The overall lack of lyrics--the most repeated line on the 10-track record is a simple, wistful “oooh”--is only a positive, letting the listener get fully, deeply lost in the band’s fertile psychedelic world.

Antique keyboards pulse, fretless basses thrum and a variety of voices echo in and out, underlying the trippy feel and making this pretty much the most scintillating and daring record of the year so far.

This third LP is jumpy and beat-driven and banishes the memory of the dubstep scene he emerged from.

Sunbathing Animal is not an immediate or cushy listen, but it is gripping; a considered and brutal reminder that Parquet Courts’ aren’t necessarily an accessible band.