While Finally Free has a handful of songs that are excellent and some that are simply okay, the vexing dilemma points back to Romano himself. It’s as though he isn’t quite sure the direction to take and that hesitance alone is off putting.

It’s a tense work, a deeply troubling piece--it evokes, at least in terms of mood, noise-terrorists like Throbbing Gristle and Cabaret Voltaire. It’s also a thrilling record, one that stands up to multiple listens, and with each listen it becomes easier to digest.

There are some exciting ideas here, but the sophisticated and mature singles like “Spinnin” and “Home To Another One” act as red herrings for an album bogged down by an odd reframing of the past.

SUCKERPUNCH sees Moriondo in dialogue with all sorts of characters and musical methods, hitting peak creative heights, but sometimes lacks dialogue between its component parts. Moriondo’s vision, when it’s clear, is brilliant and radiates throughout the record, but sometimes in the jumps between moods can get a little hazy.

Meet Me @ The Altar know what they are going for, and they do it well - showing off an undeniable songwriting talent in the process.

Crybaby is ironically more memorably catchy than some of their more obvious tilts at commerciality. Conversely that strength is also its slight flaw: the energy is so high on certain tracks that any slow to mid-tempo songs can naturally feel like lulls when actually they provide necessary variation.

The result here is a compelling record that is as confident in its shiny, polished singles as in its crepuscular oddities.

None of the tracks surpass the original (except probably Coldplay), but it doesn’t feel like the intention to ‘one-up’ other bands here. It’s an intimate, nostalgic affair for a small minority. For others, it’ll be less vital.

His third outing feels more introspective, without losing any of that gargantuan shine or him feeling like a stranger.

It’s a tried and tested formula, but no one really does it in a manner as unfailingly, beautifully hilarious as The Vaselines.

Even when 6LACK is on cruise control, the emotional hour drives by, hiding thoughtful romanticisms and nuanced musical flashes that are a delight to discover.

There are a number of beatless mood pieces ("Crush", "Keep Driving") which showcase a more restrained, cinematic style, but ultimately bring little to the table, especially when the non-committal, monosyllabic vocal ice of Jae Matthews is such a focal point. Overall, though, this record leaves quite the impression; if uneasy listening is your thing, Boy Harsher’s murky interpretation of dead disco will envelop you in its dark delights.

You Still Here, Ho? offers a snapshot circa 2022, reminding us that, at least when it comes to the competitive side of human nature and the fallouts of capitalism, the 2020s may not be that different from the 2010s, 2000s, 1990s, and so on. Different trappings, same dynamic.

Underpinned by sharper melodies and, shock horror, notions of hope, they sit comfortably as among the best songs Metz have written so far. If they’re a nod to how the band intend on developing their sound further, we may well soon end up with a record that truly feels like serious change has occurred.

Several of the tracks are too short, as if in an eagerness for the songs to sit within a four minute pop structure, instead of discarding some of their ideas, they cram them all in and cut down the song length.

On this accomplished fourth album, Little Dragon’s enthusiasm is palpable and their world well worth exploring.

Where Culture of Volume excels it is a progression and refinement of prior work. But for all its ambition, it’s a showreel of promise and potential rather than a cohesive whole.

Whilst no-one wishes further misfortune on NOTHING, Tired of Tomorrow proves they've learnt how to make the most of it and turn it into something dark, but beautiful. Its title suggests despondency, but its content should certainly leave them hopeful.

Johnson wordlessly serenades us as the band plays out over the final credits. A reminder that sometimes the personal hits harder and lasts longer than anything else.

It’s a record with a few winners, a few losers and some fillers. However, it is by no means a poor record. There’s plenty here that most modern electro artists would die to produce, but it’s a shame that there’s just so much here that falls far short of the work Dear has done in the past.

Summer of ’13 is an album that takes itself with a pinch of salt, experimenting with good humor and having a lot of fun in the process.

With his sophomore album, Lacy has established a few things. He’s talented, driven, and able to connect and resonate with his listeners. He hasn’t harnessed the full power of his ability yet, but as he continues to pave a path in front of him, his Gemini star will shine brightly when he does.

Adult Contemporary is a whole lot of fun, and furthers Chromeo’s mission to take the seriousness out of modern day music. Chromeo’s trajectory remains in tact with this release, and shows that funk truly never goes out of style.

There are some excellent discoveries waiting to be heard across a surprisingly wide array of artists and (sub-)genres. The collection features everything from safe recreations (White Reaper’s “Sad But True”) to left-field rejiggering (J Balvin’s rap reimagining of “Wherever I May Roam”).

That lack of wildness makes Modern Vampires of The City, while always thoughtful and often beautiful, the least captivating of their three albums.

The LP steps away from their usual repertoire, offering a softer, more stripped-back approach to their musings, teetering on the edge of almost folk-rock.

Whilst at times DISCO::4 Part II might feel morbid, its urgent, vital sounds provide a much needed antidote to the anxieties of the world we currently live in. It’s also further proof that HEALTH’s talent and appetite for collaboration is as potent as ever.

Choruses could feel more anthemic; the rhythm section could punch you in the gut a little harder. But that doesn’t take much away from a solid record that should come into its own with a live crowd connection.