Though as a collection Moth is both fascinating and fun, demonstrative of what can be achieved when you focus on substance over style.

You might absorb a couple of hooks and riffs and edit it down to your own abridged version, but you’ll be left wanting more than Krol’s willing to provide.

Tired Of Tomorrow is a bold, expressive grandiose album that proves capital-R Realists can make something just as beautiful as capital-R Romantics.

If The English Riviera was a lovingly weaved ode to a vibrant utopia, Love Letters, its predecessor and Metronomy's fourth full-length offering, is a return to the same shores, but under much darker skies.

It will take a patient, contemplative listener to fully appreciate the picture that emerges.

Jonna Lee and Claes Björklund have created a record that they hope will stand the test of time and whilst it remains to be seen if that is the case, Blue is a beautiful, engaging record that entertains as much as it inspires.

Their sound feels a little dated, especially when you consider the amount of bands who just a few years ago were producing very similar material. Yet, they show promise and in their final song 'Call Me' show a more introspective side with Vangelis style synthesisers over reverberated guitars.

Intimate, raw and captivating; there is lasting wisdom found in In The Hollows.

None of the tracks on New Material could fit any such textbook definition of "bad". It’s stylistically inconsistent and at times bafflingly chaotic, but each track has a certain quality that defines Preoccupations as a willingly evolutionary band.

It's messy and crude, but never predictable. Nearly 20 years into his career, Copeland continues to make challenging and idiosyncratic music that defies conventional boundaries, and it's safe to say there's no chance of him toning things down anytime soon.

It's a toxic game they play throughout the 30-minute project, without ever garnering the introspection they need until things are too late.

They haven't changed their sound, more developed it. They've kept the rawness, the pop songwriting and uncompromising attitude but pushed it sonically further than many would have ever expected them to.

Shortly after the release of Swimming Through Sunlight, Brown complained that he was already bored with its songs and admitted the band hadn't considered how it would feel to be bashing out the same garage band combinations a year later (the answer: tedious, if their new material-heavy live sets were anything to go by). With Heydays, they needn't stress about falling into that trap again.

Overall, the first half of Outer Peace sparkles, but there is a disappointing limpness to the second part which suggests that the ideas ran out and two EPs of excellent material could have been produced instead of one album’s worth of work.

While there isn't anything all that distinct about their approach, none of it deters from the fact that Seratones are making some truly fun music.

It may not be as bold or as striking as TRST, but as a solid sophomore release, the band has definitely gained our trust.

The best thing you can do is let Iteration’s rain-soaked neon lights wash over and see what you feel.

While American Utopia has its missteps it is, on the whole, a joyous record that only Byrne could make. American Utopia is an album that is inquisitive not just about the world of today but of music’s power to transport and uplift us.

This is a good record but unfortunately there's something missing.

Though undoubtedly a handsome package, the experience of Lease of Life as a whole feels somewhat insubstantial; its impact is elusive while any real staying power is negligible at best.

Dissolver is a confident and comparatively focused outing for Younghusband, one that sees them further developing their musical interplay and tightening their already sturdy sense of songcraft.

Their homemade studio occasionally shows its flaws, but this is simultaneously heartening. King Gizzard are easy to forgive and fun to like, showing that it’s more than a record about reliving psychedelic music’s prototypes.

They’ve dredged up their youthful feelings and animated them in both honest and affectionate tones, and it makes You Might Be Smiling Now… a joyous rummage through swathes of bleary nostalgia.

Standout tracks, melancholic interludes and stylistic jumpiness add elements of unpredictability to Everett and co. that they’ve sorely missed. But these same things also make it an overarching mess.

From bird sounds, flutes and screams to pounding techno beats, disco, house and catchy hooks, DOOMSQUAD’s Let Yourself Be Seen creates harmony in chaos, showing a reflection of our times and the necessity of togetherness in finding a release for self-expression.

This is a decent body of work which would actually work well as an introduction to the band for those yet to encounter METZ’s noise to date.

Xenoula is a funky, fresh and downright fun album that comprises many palette-expanding songs for anyone with pop proclivities.

Overall Enter the Slasher House is perhaps too subtle to sit amongst the likes of the Cramps, Goblin and Zombie Zombie playing John Carpenter, on your future Halloween playlist.