Some tracks sound like Elvis ballads drowned out by faulty styluses and retro sound systems. Others are breathy song-cycles of gospel folk. For all the rich breeze and slinking Tarantino guitars in "Hope To Die", the track more resembles an ‘80s Mazzy Star-era shoegaze piece for the country purists to languish on. With Pony, Orville Peck has put himself in the boxing ring for his own ’68 Comeback Special.

New probably won’t reverse the malaise that his public profile is slowly suffering in Britain, but it’s enjoyable fare all the same.

The band’s strongest set of songs to date. Between the increased production, the reaching-slightly-too-far aspiration, and sharper focus, AYP comes closest to fulfilling the promise shown since Citizen’s inception.

It’s true that the concept is the most rewarding aspect of these songs, but the choice of character does chime greatly with the historical moment and makes the album more distinct than it otherwise might have been.

Antony commands a stadium with his vocals and tone, or in this case the Barbican in London, while the fragile live air has not failed to be captured in the final product of Turning.

Despite being an excellent release in many ways, Networker nonetheless reinforces the belief that we are only scratching the surface of what Omni have to offer.

It's a strong debut that will in no doubt be held in reverence for its musical deftness as it will its personal exorcism.

On paper Milano should be a mess, but it's a resounding triumph. Luppi has crafted a fast-paced and fashionable record which taps into the lifeblood of his beloved Milan; seductive, hedonistic and super stylish.

A luscious, intricate body of work, Shadow Offering recounts pain, heartbreak, anger, and everything else that nestles in the heart of humanity before lifting the trodden towards the light of hope.

Add Violence is not an obviously human piece of work; it's electronic to the point of sensory detachment, and certainly never feels like a flesh-and-blood piece.

The berserk, nihilistic energy that made Andrew W.K.’s name is gone. In its place is something more affirming but more ponderous. Song after song goes for big, anthemic goosebump moments, but the melodies aren’t memorable enough and the sentiment, even as sincerely as it is delivered, feels forced.

If you like your music ordered and predictable, then Cheater probably isn’t for you. But if you’re the kind of person who embraces chaos and doesn’t care if the can of fizzy drink has been shaken up before you open it because the resulting sticky mess is just as sweet, then you’ll love this album.

Most Normal is mostly freeform pieces with no real beginning, midpoint or end. It's typically confrontational, throwing the listener face first into their wall of noise with some spectacular excursions into how to make naturally rhythmic instruments sound ugly, aggressive, unpleasant and ultimately cathartic.

Try Not To Freak Out is a decent album, but on the whole, there’s really not a great deal to say about it, unfortunately.

Gist Is shows a lightness of touch that’s few and far between on debut records.

When Migration is at its best all is forgotten: Bonobo's ability to immerse the listener in a gorgeous electronic escapism is better than ever.

Hypnotic Eye is little more than a decent record with a few ideas above its station.

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.

Terrible/Beautiful has some wonderful songs and does emit glints of growth, even if it is a tad long and flabbier than previous outings.

All irony aside, this bold debut is something to be admired--a creative and eclectic gem to be cherished and nurtured.

E.MO.TION has all the tenets of a successful pop record, but feels more cultivated than previous work.

Overall All Yours proves that taking a little time out to breathe can work, and this airy record captures that feeling.

That isn't to say the record is particularly socio-political, it's just that nestled between the grooves are wry examinations of the aforementioned, often only revealing themselves after several listens.

There are certainly more strong points than weak points to be concentrated on here. All the tracks that centre around Posdnuos, Trugoy and Maseo see De La Soul at full strength with their rhymes as sharp and playful but seemingly wiser than ever before.

Out Her Space is Introducing’s twisted older sibling. Though some may be perturbed by the departure from Introducing’s Nashville direction, those open to Blau’s versatility as a composer and songwriter will find much aural stimulation in the united multiplicity of his works.

There’s still something fun and interesting to be found in what the band do and Little Dark Age is proof that they’re nowhere near done with inter dimensional meddling.

Despite moments of variance, Firepower still finds Priest as focused as ever. Although they don’t break the mould on every track, it’s important to remember that it’s a mould that they set, and Firepower fulfills as some of this year’s most prospering and ferocious heavy metal.

They're far more adept at widening our eyes than most realise, with a vicious soundtrack to boot. This pair are one of the most exciting and forward-charging rock bands currently active.