Though it will never be something you can boogie on down to, or strut your wiggly bits at, it will, without a shadow of a doubt, hold your attention.

With Strange Peace, Metz have created an album that still largely has one foot rooted in the best of their past, but sees the other stretching forward into a future that is just as riotous.

The record is a veritable patchwork of perspectives. It elevates the voices of women who, on paper, might seem broken, were it not for Remy’s ability to trade desperation for cynical dynamism.

This is a relatively direct album, and it gives you all you need to know about it within the first ten minutes, but its reliance on a consistent sonic palette only increases its power. Of course, Rønnenfelt is the star of the show – his name is on the marquee this time – but the songs are a very, very close second.

Even more consistently inspired than Eitzel's previous two, excellent solo albums (2009's Klamath and Don't Be A Stranger from 2012), Hey Mr Ferryman demands that Eitzel is at last granted at least as much attention and acclaim as his fellow songwriting Mark, former Red House Painters-leader Kozelek.

Rocket weaves a patchwork of complex emotions experienced by (Sandy) Alex G and his friends. The album is reaffirming and disheartening at the same time.

The Gossip may currently be no more, but with Ditto's solo album, we have a replacement that fills the void.

What William Tyler does is reach back into the past with complete honesty, and by doing so he’s able to create new and exciting sounds from the social, political and geographical changes of a particular period.

It’s no Plastic Beach, but, by ditching the often hackneyed attempts to stay relevant that verged on self-parody and digging into their identity and other existential fears, Gorillaz have demonstrated that they still have the power to feel vital.

Girlfriend Material sees shimmer traded for increased complexity alongside a confident pop-punk presence – one that defines the album’s major strength alongside a sharply served side-eye view of society.

With a wholehearted desire to make music purely for himself, UGLY displays an artistic freedom regained, reconnecting with what drew him to music in the first place. It’s a creative direction that will most likely not stick around, but that’s what makes it that bit more authentic.

Although wrestling with Sport, at first, may prove to be a challenging affair, it rapidly becomes a wholly rewarding and thorough sonic work-out.

Cabral and her band have taken what could have been a disaster and turned it into her best work. A stunning, unexpected album from an artist to keep a very close eye on.

With so much powerful percussion on display, it takes a few listens before you finally settle down and appreciate the more intimate and painstakingly-beautiful arrangements that fall in between Stranger to Stranger’s colossal thunderclaps.

Any Human Friend is an explosive body of work, one that isn’t afraid to discuss sex and female eroticism with a microscopic lens. Peeling away the layers to reveal an intrinsically human record.

There is something intangibly magnetic about In Love, and it feels like a wonderful, igniting record--when so many other “indie” records fail to stir any emotion other than indifference.

There is not a whiff of a cynical retread of old tricks during Raise the Roof, which manages the trick of coming across both sophisticatedly polished and winningly raw and in-the-moment.

Omnion isn't hugely different from the Hercules albums that came before it, but that's not really the appeal of the group: their records have always been episodic because of their guest vocalists, and Omnion feels like checking in with a group of friends, the focus shifting with each new song.

Rips is that album; there’s nary an ounce of artiness or innovation here, and it sounds almost hopelessly out of time in 2014, yet you can’t help but grin and love it just the same.

This is comfortably the most sonically-pristine album that Belle & Sebastian have made.

The entire EP clocks in at just under 15 minutes. Despite this, this has ensured quality over quantity and makes up for the potential disappointment felt by listeners due to Club Shy’s speedy turnaround. The synths are fat, Shygirl’s voice steps into places she rarely visits, and it's absolutely everything you could want from a Shygirl club cut, soaring as it takes a victory lap around what has played prior.

The tracks’ detailed arrangements are almost symphonic at places, but no matter how elaborate and eccentric they get, listeners are consistently guided by catchy ornamental melodies with which the album is replete. It’s this powerful juxtaposition that makes Age Of so compelling as an album.

It’s designed for the outdoors, for huge crowds and for losing your mind to. There are few artists that have perfected the kind of engrossing and engaging dance delights that Jono and Gabriel are demonstrating here.

Light Up Gold isn’t total hedonism, but as riotous, guitar-led escapes from the drudgery of the day to day go, it’s more than enough fun to convince you to go along for the ride.

A wholly strong and fruitful debut album from the scuzz-pop prince, there’s no doubt we’ll see more maturity and critical creations in Lang’s future.

Structureless, vindicating and yet jarring in moments, Two Star & The Dream Police is the sound of Mk.gee taking ownership of the musical world he’s been building for years.

In terms of coherence, it’s quite possibly their best LP since Imperial Wax Solvent.

There’s a communal ambience on show here; using three vocalists gives it a mixtape aesthetic, the music feeling like a bulging bag of pick and mix.