I Have to Feed Larry’s Hawk is something of a messy enigma. Gone are the lo-fi production values and the urgency of early White Fence material, replaced instead by songs that take their time to grow but often miss the target. There are some aural delights here, but also too many instantly forgettable tracks.

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.

Though this turn towards all-out pop music doesn't breed inherently bad music (in fact, it's quite pleasant), but it's not the reason we fell in love with Dum Dum Girls.

Across eighteen tracks, no matter how long they might be, quality control is bound to be something of an issue so alongside the cracking motorik electro instrumental of 'Overtime' we do get the morose 'Women Lost In Thought' or the noise-mess of 'Missing Time' but these are small detours from what's a pretty engaging record.

We’re left with many songs that could have used some voices, or ones where the voices dominate proceedings, taking the focus away from the creators.

At its heart it is an album at odds with itself as much as it is with its audience, too weird to gain mainstream popularity, but too pop to be truly revered by existing fans.

There may be variances in sound on a track-by-track basis, but individual songs lack any real dynamic shifts and as a result this makes Transfixiation a fairly gruelling listen.

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.

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

Devil Music is unabashed reverence, almost innocuously so, but articulated with thunderous gravity and primitivism, if not focus. It won’t feature on many end of year lists, but it’s a helluva road trip, albeit one you’ll forget a year later.

Three albums in, and several world tours under his belt, Bombino's music remains as powerful and vital as the day he first picked up a guitar.

If you welcome the need for a slab of simple hedonistic pleasure, then you might find yourself some treasures here. Switch off and put yourself on party-autopilot.

Whilst Wilder Mind is not very good, it's really not as bad as you want it to be.

The arrangements of the album contrast between moments of minimal instrumentation, layered with her vulnerable vocal melodies that seem complementary of the overall theme. It could be felt at points that the musicality seems to move without increased colour, but it is only when you venture further into the album and the lyricism that it becomes clearer that this is likely to be understood as a reflection of the concept.

Castanets manage to keep those raw influences in sight, whilst tweaking and twisting them into something different, and at times intriguingly strange.

This album is more of a reset than a reinvention, ditching the guitar was meant to make or break them, but it's kind of done neither.

What it is, is a nice collection of dark trip-hop pop songs influenced by some great names but without forcing you to remember the name of HÆLOS. A little more substance over style will lead HÆLOS to bigger and better things.

Where some of the cuts, like 'Gitter', 'Pro Model', or 'Many Descriptions' evoke vibrant feelings, others ignite a giant pile of 'meh' inside your brain.

On the whole, it feels like this is an album we've heard before. In all fairness, they rise well above mediocrity in certain areas.

The handful of traditional band tracks that make the cut are a mixed bag.... On the whole, though, I was pleasantly surprised by Beyond Clueless; it's first of all proved Summer Camp's musical talent beyond doubt, by taking them in a direction so far removed from what they've been doing so far, and secondly lends them a little substance and credibility.

Individually, many of his tracks are great. But the album itself can feel like a concept that has been too thought out. Despite this, Mick's message is what still makes The Healing Component worth a listen.

The brevity of Lust For Youth is an issue, particularly as the eight songs fail to fully bond together, so the end result is a little too disjointed and the album overall suffers from a lack of flow, immediacy and purposeful direction. There are some good tunes here, of that there is no doubt, but it feels a little flat as a body of work.

Z is promising but it seems that SZA's identity isn't truly clear as there are too many different styles competing to be heard.

It's certainly an album that takes a little work to crack, and that work centres around Asbury's unique vocal performances.

What makes that record sound so left-field is Cedric’s all over the place vocals and Ross Robinson’s infamously loud production.

Everything on Eden more or less works, though it’s a definite step down from Ephorize.

There’s nothing wrong with harkening to ‘80s synth-pop once in a while, but it seems Wild Nothing have explored every nook and cranny of their current sound. It’s time for the incredibly talented Jack Tatum to move on to something more forward-thinking.

A touch more volume on the instruments and a bit of extra distance between one man's mouth and his microphone, this might have been a blissful exercise in studied yet clamorous rock music.