The 10 [tracks] he chose form a supple, sedated record that's immaculate throughout.

Emotion is packed with frighteningly relatable songs about love, longing and heartbreak.

The London trio's second full-length is a breakneck, open-eared, positivist post-punk canter.

MGMT’s return to pop is a much more welcome surprise.

Yes, there’s joy to be found in hearing a musician so unshackled from expectation and finding catharsis in the experience. But Boy Voyage lacks a running thread, centrepiece or concept to build itself around. It’s a wild, space-age trip that could do with a return ticket back to Earth.

Musically, Acts Of Fear And Love is the most accomplished of Slaves’ three albums, switching things up and pulling off new sounds without losing sight of the band’s DNA.

The result is an album that dovetails beautifully from party anthems to vulnerable confessionals. The production is tight and cohesive even when songs like ‘Pay You Back’ and ‘Splash Warning’ feel unnecessary. Meek is angry but eloquent.

While the sumptuous grooves that underpin the tracks are captivating, it’s also the thematic content of Bismillah that makes for repeated listens.

Aside from some uninspired, though pretty acoustica (‘Someone Else’s Trees’, ‘Laundry And Jet Lag’), ‘BREACH’ is a stellar progression overall. Lily’s lurch to zestier compositions is a welcome divergence.

In standing mostly still, Travis have found contemporary eddies swirling around them.

No doubt many of these songs will go on to be fan favourites, but while it’s not a step backwards, it certainly is a step sideways for a band who until now have been in perpetual motion.

‘Taste Of Love’ is one of TWICE’s more powerful releases yet – despite a number of notable misfires – and showcases the group’s versatility in terms of vocals and concept execution.

From their pen through to their sound, ‘Here Is Everything’ is emotive and glossy; one that gives space to breathe in this busy world.

‘Higher Than Heaven’ may not be strictly personal, but it definitely sounds like an album crafted with care, skill and no small amount of flair.

The album, frustratingly, proceeds on a perplexingly flat note. Clocking in at 14 songs, one wonders if the ferocity of ‘Grooming My Replacement’ could have completed a memorable ten-track collection, with the final few tracks lacking that consistent cutting edge.

As he ricochets through twitchy rave pulses, sugar-corroded pop sheen and chrome-filmed club futurism, Brown is still unmistakably himself – even if not all experimentation lands perfectly.

This is an album of difficult rhythms, squawking guitars and bohemian eccentricities that will leave fans delighted and everyone else baffled--just as their 12 others have done. Business as usual, then.

Majical Cloudz may be dark, but there's light poking through.

What Havilah does is jump up and down on the rotting carcasses of The Vines and Jet, stabbing them again and again with a flag that says “Miles. Better. Than. You. Ever. Were. Mate.”

Delve into the lyrics a little deeper, particularly the title track, and it becomes even clearer that Bauer sees his old band's split as the first step towards spiritual enlightenment and finding certainty amid the chaos.

Depending on your standpoint as regards selling out and cashing in, you'll either be baffled or delighted to discover that they've adjusted their modus operandi not one jot on the follow-up, O Shudder.

A record like a deep gulp of cold air on a clear, bright morning after.

With the standard set, Turner brings an almost literal meaning to the notion of 'traditional English punk' and, as always, it's a fearless venture for an artist with something interesting to say.

Lion King: The Gift is a great example of Beyonce’s fantastic taste, and of her ability to oversee an album that doesn’t focus on her while also cementing the soundtrack as a worthy substitute to the original. Most importantly, it puts a spotlight on artists from the continent in which the movie takes place.

Soaring closer ‘The Room It Was’ reminds us that, even after 10 years in the game, there’s enough punch and gusto behind this band to swerve overall disappointment, despite a lack of inventiveness and some lacklustre songwriting. ‘The Shadow I Remember’ undoubtedly packs enough muscle to excite at Cloud Nothings’ return to chaotic live shows.

The dark and sexy new songs shine their brightest when coated with a layer of her previous sparkle; which makes the artist’s second album a fine but frustrating release.

An eclectic album for Right Now, which shows what it means to be a modern pop star, and reveals a glittery crazy-paved path towards a brave new musical future.

You’ve got an album that revels in the simplicity of a great pop song while cleverly articulating the everyday truths of 20-something life, on Bognanno’s terms alone.