At 14 tracks long, Gate Of Grief is a long listen and, in truth, a lot of it sounds the same. But after a while those icy beats and warped vocals begin to sound more like a bony, deathlike finger tapping into our instinctive fears. If White Ring are hoping they can exorcise the past and begin a revived new chapter, this is a decent effort.

Kingdoms In Colour is an album that lingers with you even once it has finished; leaving an afterglow of warmth on everyone it touches.

Something We All Got is the third album from the Toronto group and the recipe of buzzing, breathless quite often vulnerable sound has been matured and given new life.

In the end, Sleater-Kinney’s ongoing evolution may divide opinion, but there’s no doubt that this is a band that still has important stories to tell.

It’s clear that Morning/Evening has been inspired by, and tailored for, its respective times of day and this works well. But it feels like the majority of Hebden’s attention has gone into the first side resulting in an enjoyable, if front-loaded album.

It’s a treat to hear all these iconic and sometimes underrated themes again, even going so far as to cover Ennio Morricone’s ominous theme for The Thing and Jack Nitzsche’s grand, celestial Starman theme.

The album as a whole is a sure-fire sonic adventure. Allowing creativity to take the reins, Howard has reinvented himself with his latest installment through a blend of storytelling and evocative sonic fillers. Now, he is one of the UK’s most naturally talented songwriters, with an added sense of style.

Luckily, on a 19-track album, there are more gems than duds. Lovato is more willing to experiment than on previous releases, both through her music and her voice, which is more versatile than ever.

If you listen to this album with your head, it is a politically charged rally to the people, but if you listen with your body, it is an album designed to make you dance--the hallmark of any release bearing the Kuti name.

Bigfoot is bittersweet; cheerful and charming in small doses, and--as that’s all you get--it’s time well spent.

While still offering glimmers of Jaga Jazzist’s undefinable, futuristic aspirations, the maximalist ethos of Pyramid ultimately comes across as oddly old-fashioned at a time when acts like 75 Dollar Bill are redefining the hypnotic potential of instrumental soundscapes.

Lyrically, Ape is among his best records, even with a few missteps on tracks like “Fancy Man”.

At its best, >>> retains the weirdness but manages to staple it to some fairly colossal tunes, with an emphasis on huge grooves that nods towards Barrow’s background as a drummer.

The staggering amount of feelings spent and tales fabricated draws the listener into the story as much as it may pull them out of it.

Born In The Echoes continues their fusing of psychedelic head music with the dancefloor, and while it doesn’t break new ground, it’s a timely smack on the nose to the pretenders to their throne.

where Neuroplasiticy brilliantly built on Cold Specks' debut and breathed life into every track, Fool’s Paradise excels at singular moments and seems to struggle for air and space overall.

The album drifts by comfortably and could benefit from a few surprises, both tonally and musically. However, there are definite standout moments, such as “Oh Oh” and the bouncy “Angel”.

Everything here works, but that’s hardly great praise.

If this album was written and performed by humans I would say that, at best, it's a gratifying listen of retro arcade game inspired electronic music and, at worst, a whimsical yet unremarkable collection of instrumentals. Good fun, yet a little inconsequential.

Too often his raps are egotistical, self-pitying, trashy, crass or just clunky- distracting from the sonic feats behind the vocals.

Although the sometimes scattergun approach to genre-hopping has its drawbacks, what’s great about Policy is the future possibilities it allows Will Butler.

Pulling out the stitching from vintage rock sounds, they liberate its cloth from the need to fit over preset shapes.

Taking their cues from alternative sub-genres of the last thirty to forty years, Girl Scout offer their own self-effacing contribution to infectiously febrile effect.

It’s a real pleasure listening to the group traverse a new obstacle in working more with external artists. And while this album may lean on them too heavily, this is undoubtedly the same BROCKHAMPTON.

It seems they're traversing into territory that may feel foreign at times. Still, each project, especially The Runner, has seen them remain true to who they are and the music they make while still managing to add a new dimension and layer of complexity to their story and vision.

It’s not all as instantly catchy as its opening track, but you can bet it’s a grower, post-break-up or not.

Dawn is just the beginning for Yebba, and the sun is only rising on her promising future.

Somehow intimate yet vast, Summer Through My Mind is a record that you may not like or even “get”, but you can lose yourself in the familiar sense of disorientation and confusion of life that is revealed by a divine understanding within the songs themselves.