For all its dense silliness, Music For Insomniacs really is quite a genuinely discomfiting experience.

Dälek have stepped out just enough to create an album that sits comfortably within the band's discography, and deserves to be cherished.

When it's all done, you can hear that this is a good band, doing some good things but I wonder if with more focus or investment it might bear greater results.

In all, it's pretty confusing. But with Mandela Effect, Gonjasufi has created a truly stimulating album that will be quite unlike any other released this year.

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”.

Promising and full of potential, the boys have delivered and exceeded expectations, it’s safe to say that their intoxicating indie rock cuts are here to stay.

At times the record’s pleasantness feels forced, part of a calculated game plan. But at its best, Out Among The Stars is a gentle reminder of how sweet the everyman missives of the Man In Black could be.

A peerless and affecting album, from start line to finish.

These songs, and others such as “UFO” are pretty much straight indie tracks, but it’s when they utilise electronics that Stars Are Our Home really comes alive.

If you buy into Brian Fallon’s rock classicist worldview, Sleepwalkers is an enjoyable record. Just don’t ask for much beyond that.

This is state-of-the-art pop music with an irresistible sense of rough and tough feminine glamour. Do not miss out.

It’s refreshing that the most appealing parts of Whorl are when the duo abandon exactly the musical nuances they’re known for. At the very least they should be applauded for exploring new territory, even if the overall record is not entirely satisfying.

It’s emotional, it’s hooky and it’s loveable, and as a straight-up folk record for those who’ve never heard Hoop’s sounds before, it ticks a great many boxes. But, alas, as dazzling as the album regularly is, it is a fan’s record.

You could argue that Dark Red is a bit samey in places, but that's kind of the point.

Lost in Alphaville is sometimes a little too adrift in its own world and its own thoughts of sound to make sense today.

Although this debut LP might have its weaknesses, it might also be a sign of greater things to come.

Notes has no such common context, and ends up feeling flat, directionless and inessential, where its forebears felt vital, worthy of devoting a life to. For a band with proven dexterity in deftly capturing the nuances and quick changes of contemporary conversation, it is disheartening to witness them with nearly nothing of note to say.

If Michael is Chaz Bundick's guided tour of dance music, then he takes you to some unexpected but seriously interesting places.

Like its predecessor, it’s a little too long, but California Nights reaffirms the things that Crazy for You had me believing and The Only Place had me doubting; that Cosentino is a fine songwriter with a keen ear for melody, that Bruno’s guitar work is the perfect foil for her.

To put it simply, Death Grips have never been afraid of pushing ever boundary around them, and Year Of The Snitch is no different.

The only issue for this record is that thereafter it meanders far too much and those lyrics that you loved at the beginning you begin resenting at the end as it almost becomes a caricature of itself. ... That doesn’t stop it being something great to chew on. Uppers is a great place to start and should rubber stamp TV Priest as one of, if not your favorite new act.

No matter how many times she’s labelled ‘the next Grimes’, there’s nought they can do about the fact that this one, well, she’s really one on her own.

The sparser the group go, the more space they have to fill and the more it sometimes feels like they’re straining. There’s beauty here, no doubt, and they’ve lost none of their technical skill. The move to Danish also brings an exciting new element. But, after years away working together on other projects, one suspects there's room for more inspiration here.

Faith is a very, very good album – most likely their best since their debut.

Access All Areas is a place where retro influences merge with contemporary thematics, additionally bestriding the border between nostalgia-evoking sampling and entirely fresh production techniques. From top to bottom, this record exhibits toned melodies, striking harmonies, and impressive vocal chemistry.

There are some striking, startling and sublime moments on Painting With, even if it is at times a little dis-jointed.

The misfiring cover of The Beatles’ "I Want To Hold Your Hand" aside, Pinkus Abortion Technician is more than a legacy record for the band. It reflects their continued enthusiasm and well of ideas and, most importantly, their willingness to keep it weird.

[Cigarettes After Sex] continue to refine their vision with more clarity, bigger baselines, and a continued promise to envelop you in their hazy, romantic pop noir. It’s that kind of consistency that fans have come to expect; still, one can’t help but wonder how many more releases Cigarettes After Sex will sustain this sound before they risk consistency for experimentation within their artistic boundaries.