Boy King lends further weight to the view that Wild Beasts are one of the best bands operating in Britain today, and it’s not shy in doing so.

It does have some darker moments, but this is a record that is fun, invigorating and ultimately very catchy.

Challenging and proudly disjointed, Innocence Reaches showcases a deranged songwriter whose fickle character knows no bounds.

Continually tedious and far too long for its own good, 25 25 is a almost hour-long endurance test that refuses to let itself out of the duo’s own heads.

Flood Network as a whole is spellbinding even when it’s faintly outlandish, marked with a fraught identity that shrouds her creative audacity.

It’s a good comeback for De La Soul, and there’s plenty to really enjoy here, but there are too many occasions where tracks loiter for too long, not outstaying their welcome as such, just not doing a great deal with it.

Sometimes, Kath will try to replicate the past with a house-oriented number like Frail, where Francis tries her best to replicate Glass’s contagious shrieking but without the same stage presence. In spite of this, Amnesty (I) isn’t afraid of glossing over its faults in hopes of trying out new things.

The creative zeal McCombs displays on Mangy Love, and his willingness to take some chances, even if low stakes, engages both the heart and the mind.

What makes My Woman great isn't the new synths or the rockier tone. It's Olsen herself, filling these songs with the love, desire, anguish and acceptance that comes from her perspective as a woman.

While the production on this album brings a multifaceted sonic support system into the picture, its own repetitive nature, along with that of Rashad’s lyricism, lead to exhaustive monotony.

The direction they took this time around is more scattershot than usual, amplified with generosity, but hopefully these new ideas will guide them to a more focused and inventive pursuit.

Despite his grander statements falling flat and a mid album slump, Trick sees Jamie T at his absolute best.

For every low point there’s the unquestionable standouts.

Whether Glory will have the same commercial and cultural impact remains to be seen, but for now, Britney fans can rejoice: part of her is indeed back.

Whether it’s a one-off project or a fleeting affair for all parties involved remains to be seen, though for the time being, the band’s gift for impromptu creativity has served them well.

The production on this album is bearable and more or less gets the job done, but is mostly composed of bothersome loops. This leaves the bulk of the work to the emcees. And quite frankly, some show up, and some most certainly do not.

Wildflower is simply a joy, an euphonious hour-long journey that exists in some wonderfully naive and blissful alternate universe. It’s an aural paradise you’ll never want to leave.

It’s a collection of unsightly surveillances expressed in a magnificent manner, and the work of a man more than capable of out-creating himself.

Summer 08 is good work from Mount, and an album with its fair share of corking tracks.

Blank Face is occasionally too indulgent for his own good, as he also follows trap and net-soul trends in awkward fashion, but the amount of genuine, larger-than-life parables continue to expose an artist who still wrestles with his hard-knock past.

With Runaway, MSTRKRFT find a balance between the antagonistic incursion and electro-funk wizardry, but asides from that standout, the record as a whole is a jarring affair.

theyesandeye is charming, and even throws in a cover of The xx’s Angels, but is lacking the dimension required to make it anything more than a polite and pleasant affair.

There are times when their elementary to songwriting can make them look as if they’re stuck in their teenage angst, which is expected considering their genuinely fun play on nostalgia is quite detrimental to their brand. But the tunes do stack up, and when it’s delivered with this much conviction, that’s reason enough to rekindle that loyal, longstanding friendship with their most ardent fans.

BBNG have always been fluent and sonically articulate, but enlisting the talents of suitable vocalists to thicken their smokescreen strengthens their suit.

There's no denying the adroit songwriting that’s on display here (they are veterans, after all), as they continue to chug along with low-stakes, yet engaging releases that cement their place as living rock royalty who’ve never gotten their due.

Spend The Night With... offers some impressive diversity without sounding tossed off or smashed together, and for all of the sloppiness it's a surprisingly cohesive album.

For All We Know is an extremely accomplished debut from a supremely talented artist.

Gorguts are no strangers to ambition, always pushing themselves to find beauty in the darkest, most sinister tales of our checkered evolution. What’s most surprising, though, is that we finally get to witness a cast of players who can actually give the ever-shifting Gorguts name the treatment that it deserves.