This One’s for the Dancer & This One’s for the Dancer’s Bouquet will take you to the end of the world, and back, and keeping your head nodding to a gentle groove throughout. It just might be a feat worthy of Greek myth.

Many will ding this record for being too subdued, but the matter of fact is Bondy has grown as an artist since his days as Verbena. He’s evolved, more experimental, more in-touch with what drives him, with the decaying America around him and of course, what pulls at his (and our) heartstrings. Enderness is a profound testament to his maturation.

Strangers is an astounding combination of styles that takes music that is fairly usual, and turns it into something completely unique that strikes slowly but deeply, and irrevocably.

It accomplishes everything you would expect a sophomore album to do: it builds off the promise of its predecessor and sees a band coming into their own and developing their own unique style and sound. Probably the least expected thing about it though is just how jaw-droppingly good it actually is.

Generally speaking, Ambitions manages to boast Prins Thomas, and all of his varying interests, at their best. There’s no hesitate to be found here, only a constantly moving narrative and sublime certainty of intent.

While some may still find Fanfarlo's sound too inoffensive to get its hooks in under their skin, Let's Go Extinct is an undeniably ambitious, energetic and bombastic effort.

[FIDLAR] could potentially translate many of these songs into excellent bangers during concerts. But for now, Too is an irritating and frustrating disappointment.

Its consolidation of antiquated and contemporary music is generally inventive, occasionally poignant and always entertaining.

You can’t listen to the music found here without dancing, which is a blessing and a curse. It’s fun at first, but eventually you’ll need a breather.

Nine albums in Belle & Sebastian may have just achieved what many once thought impossible--they've reinvented themselves and perhaps in doing so, released one of the most important records of their career.

It’s still a functionally and otherwise dazzling work, one that sits nicely among the band's compositions.

The quiet build on 'Where I Lay' gives way to a gorgeous explosion of pianos and drums with haunting harmonies that, more than anything, signals just how much Broderick has grown as a composer and vocalist in the space between albums.

Contrasting One True Pairing’s sleek sound, Fleming is consistently willing to dampen the mood with world weary, starkly honest observations as to our current cultural reality. Whether it’s toxic masculinity, paranoia, or an all too real fear of global collapse, the record lays all things bare.

Content Nausea doesn’t feel like a landmark release for the band, more of a palette of ideas and experience mixed together with some undeniably great songs.

Like a gong bath that actually works, Sunn O))) are an entirely preternatural entity who exist within a state of liminality, sound created within but also between time, in contrast to the banality of music as narrative. Pyroclasts is best listened to loud, obviously.

For those fans of the Sea and Cake who are intrigued to hear their main songwriter develop some different ideas, this album is worth investigating. On the other hand, if you've never heard of Sam Prekop before, yet you are keen to hear some edgy and creative music made with modular synths, then this is definitely worth a listen.

Where circumstance sometimes has a way of completely crumbling a band, PAWS persevered, grew, and turned out an especially fun and heartfelt release that also happens to be one of their best.

It demands your attention, grabbing your head by the hair and forcing you to listen.

It illustrates how electronic music can be warm, natural, or even organic; it shows us that jazz can be combined with sub bass to create something immensely powerful; it portrays how the avant-garde can greet elements of traditional melody with open arms; and, perhaps most importantly, it exhibits the power of a producer who sees and hears no boundaries.

The saturated levels of Scandinavian pop and the mounting pressure on such artists' first albums all could've worked against Karen Ørsted here, but No Mythologies To Follow remains dynamic and expressive enough to work past these blocks and hint at very, very bright things.

This is an ideal sign off for a band trying to showcase their own new sound; not overpowering, but a sharp, pointed and intriguing tune that will still be resounding after the track has finished.

Messes is an album that’s likely to fly under the radar, as it is being released into a field that’s already crowded. But, anyone that gives it a chance is likely to get Stef Chura’s idiosyncratic vocals hooked to their brain, and will be enticed to give it more time. It will only reward further listens, as the subtleties in this simplistic joy are many.

The result is an influx of psychedelic mania that ends up enhancing his counterpart’s festering lyrical voyages. Random references and non-sensical metaphors aside, Malibu Ken is proof that abstract hip-hop is very much alive.

The production on the album is very shiny and polished, but at times far too cut and paste as every chorus seems to be layered with Sia's vocals, providing a backing falsetto.

There's huge potential here but for every time the two of them click ('Cold Moon', 'Quiet Corner', 'No Thought Of Leaving') there's an opposite track when they feel out of sync and blunted ('Migration', 'Cold Moon', 'Roy').

It's fun music and nothing about it is haphazard or casually tossed off.

Queen of Golden Dogs is a bold and original statement that collides together emotions, textures and beats to gloriously dissonant effect. It’s also Vessel's best album to date.

No Life For Me might be fast, but my god, will you enjoy the ride.