For ultimately, in true Almond fashion, this musical nod to 1960’s Italian cinema is as much tragedy as comedy. The real tragedy however would be not to check it out.

During its most striking moments, Weather is yet another example of Scott Hansen’s musical craftsmanship and excitingly it clearly illustrates the validity of his collaborative efforts with other musical artists. However the weighting on Weather is at times off-kilter and inconsistent, if Hansen can rectify and master this in future projects, he will likely be making the best music of his career.

In experimenting with various sonic tapestries paired with a conceptual thematic essence, she ends up hitting effective compositions in some moments and awkwardly stumbling on others. It’s a dream that might gradually fade in and out of the mind, but when it does clear out the misty blur, some moments end up potent.

Despite the interminably silly nature of Black Moon Spell, there are moments when these retro-rockers get it right.

Despite Daughter of Everything’s brief runtime, its sheer number of tracks and subgenre bending lend it a sprawling quality, not unlike Robert Pollard.

With the experiments being so hit and miss you’re left looking for familiar thrills, but even when delivering these, the band sound so much like there are motions to be gone through that you just aren’t inclined to feel engaged.

BTR best functions as a way to experience every mode that Grace has to offer as both songwriter and vocalist. It’s also the closest that Grace has come to letting others in and having a direct dialogue with the outside world.

Consistently intriguing and occasionally glorious, Not Real feels like a genuine step forward.

Care is as close to a perfect example of modern music as you're likely to find--it’s self-reliant, self-assured and packed with more hooks than a cloakroom.

Pink continues down his path of willful eccentricity on pom pom, then, with little more to add to his reputation (which sadly now appears to be growing more for his haphazard attempts to be an internet-famous ‘figure’ than his musical output), yet there are moments of atmospheric and emotive brilliance that will make you wonder what kind of excellence he could achieve if he weren’t quite so in debt to the R Stevie Moore’s legend.

The heartache-on-sleeve lyricism occasionally veers into the melodramatic (“Passed you on a side street / Brushed across your wrist like a razor blade”), but it’s forgiven because of the sheer honesty offered.

Hardly euphoric but with some real mastery in the guitar, not dissimilar to Body/Head, this is dark swell of analog experimentation will no doubt intrigue guitar geeks globally.

Close to the Glass is a record bookended with perfectly executed experiments, so gentle on the ears. Beautiful and perfect, they make the whole record seem round, and right.

Courting the Squall is a collection of songs from a musician unencumbered by expectation or industry pressure, just Guy Garvey recording a bunch of tunes with his friends and seeing where his muse leads them. That free spirit gives his poignant solo material a fresh buoyancy that still sounds intimate, due to his estimable songwriting gifts and the band’s ability to not overthink these compositions and just let the musical magic happen naturally.

Shine A Light is by turns sombre and playful.

State of Ruin is as successful in embracing the genre's menace as it is subverting it, revelling in the fist-pounding and neck-snapping as much as dream-like and beatless. All in all, a solid debut.

Everything explores anguish from loss but consequently finds gaiety within it. One thing that’s certain about Bnny’s progressive project is that its one to balance a surge of emotions,

Smile is messy – but so is the existence that Robinson writes about. At times, that makes the album feel unguided. But mostly, this is the first Porter Robinson album that feels entirely like him. That makes for one of the most compelling pieces of art he has ever released.

The Glow isn’t just another album in the band’s discography. It sounds like a coming of age, an album that is limitless in its imagination and one that defies genre limitations.

Swervedriver’s knack for making Americana-tinged rock from the outside looking in remains totally undiminished.

They continue to test the waters, which in itself is admirable, however, the execution in reaching a pinnacle can get lost from time to time. I Have Fought shows the Body running roughshod and a band who will continue to push and who will never settle for less.

True North is another solid addition to a formidable canon.

Another One feels like some kind of sonic intermediary--showcasing the breezy, lo-fi approach that made 2 and Salad Days critical successes, while also offering a sample of what’s to come on future full-length releases.

It’s disappointing that there’s a few dull moments on Bluebird as they really do stand out against the stronger tracks.

While Esben may be the more established of the two bands here, the more critically massaged and beard-strokingly analysed, it’s Thought Forms that provide a sense of gameness, of openness and of actual fun that offers a welcome balance to Esben’s pummeling, near-savage emotional and musical beatings.

An electronically based album rich in its own distinctive character.

This incarnation of The Album Leaf asserts the resilience that has always held up their sentimental exterior.

Here, it’s clear Ainsworth understands the importance of experimentation, building something familiar yet otherworldly.