Run Around The Sun retains much of that same flavour [of Strike A Match], continuing to base the duo’s agitated progressions at the core of their sound.

Somebody’s Knocking represents the point of no return – he's finally surpassed his past achievements, forgotten his past lives, cast off his old names and fully solidified his position as the pre-eminent ruler of the dark kingdom of gothic rock.

It’s equal parts silly, serious, camp, and on occasion mildly ridiculous, but remains wildly inventive throughout, it’s one hell of a party.

Post Tropical has lots of vivid imagery, much drawn from the great outdoors, but throughout the LP’s duration, there’s always a strident theme of strength.

In many ways, Impermanence is vintage Silberman, a sullen continuation of his preoccupations with the maudlin and the melancholy. And irrefutable proof that silence is indeed golden.

Tracks are also structurally diverse. Fans expecting an album stacked with back-to-back bangers, as Nights Out (2008) and The English Riviera (2011) are, will be caught off guard. Instead Mount gives his creative muscles space to flex wide, sandwiching catchy hits between mysterious soundscapes and zany instrumentals.

Five albums into her career, Peaches is as dirty as she ever was, and shows no sign of calming down.

Sincerely, Future Pollution continues to raise the band’s crooked bar.

As an entry level to this magnificent band, this more than suffices.

With their debut they have, for the most part, broken metaphysical barriers between techno, noise and punk, and presented a record beaming with youthful exuberance, and containing a frightening level of intensity. The presented fruits of their labour, inspired by Kiely’s breakdown, are resounding.

He is clearly putting the time in on Raskit and not short-changing his considerable talent as a vocalist.

This album is yet further proof that John Maus has no boundaries and relishes unearthing new patterns, sequences and progressions. He’s in his element when creating music quite unlike anything else.

Over quiet vocals, nifty guitar pickings, and an open diary of personal confessions, Lily sets out 40 minutes of warm, stripped-back introspection. The tempo barely lifts above a sway, but if you lean into the motions, the familiarity comforts more than it wanes.

It is thanks to such a diverse roster of musicians that the album is as rich in instrumental character as it is in lyrical depth and intrigue.

KicK iii is a more turbulent entry in the Arca universe: its relentless ability to generate movement out of stillness makes it one of her most accomplished works to date.

Lanterns on the Lake have drawn on harsh experience to produce a beautiful record that’s anything but superficial.

The Love Invention isn’t quite the crown grab it has the potential to be, despite her being on brilliant form as always.

Boy King punches more like Nine Inch Nails when Trent Reznor was still sexy, synths strafing and drums pounding like the outro to “Closer” teased out for forty minutes.

They still unleash stunning music on Origins without always seeking to shock.

Each fleeting harmonious moment on the album relies on the one that came before it, and the one that comes after.

This slight quirkiness is part of the appeal of hey u x, along with the 19-year old’s ability to blend relatable and intimate content. Personal themes of loneliness and loss twist their way like a fibre into the very heart of the album.

They haven't put all the pieces together, but the evidence suggests that Geese are still capable of laying a golden egg.

Rather than build on that record’s [The Shadow Of Heaven's] elegance and lightness of touch, MONEY have traded it out for something less polished, that’s often brutal in its emotional delivery. Not an obvious next step, then, but certainly a compelling one.

It’s a disco ball in a downtrodden pub that occasionally shines a light on the ashtray angst of early Iceage, while remaining focused on the wider picture.

Like much of Horse Jumper’s previous work, though, it doesn’t depart significantly from the canonic playbook, unfurling as derivation or emulation more than a recasting of the genre.

If you persevere, it’s an LP that will reveal it’s creamy goodness in due time. You’ve got to wine’n'dine it, not just expect to jump into bed.

These are powerful, thoughtful songs that stand up to hours of repeated listening, and always raise a smile in the process.

Although this is at times a frustratingly inconsistent demonstration of his talents, Autre Ne Veut is still one of the more accomplished acts to have emerged from the bedroom R’n'B/future pop/whatever niche.