Although the songs are largely solid, there’s a recurring sense of deja vu. ... Being Funny in a Foreign Language sees The 1975 lose touch with the reality they are usually so skilled at reflecting. Ever one to over-intellectualise, Healy is wrapped up in so many repeating layers of fame and meaning and memes and buzzwords that any real meaning is out of reach.

SUCKERPUNCH sees Moriondo in dialogue with all sorts of characters and musical methods, hitting peak creative heights, but sometimes lacks dialogue between its component parts. Moriondo’s vision, when it’s clear, is brilliant and radiates throughout the record, but sometimes in the jumps between moods can get a little hazy.

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.

Every listen yields new life oozing from each beat - above all, Anywhere But Here feels like an album that will weather excellently as Sorry go onwards.

An album that turns a sound into a physical being, CHARLIE is packed full of personality and heart.

Elegantly blurring the lines between post-rock, metal and post-classical once again, As The Moon Rests is a dramatic, urgent, poetic return to form for A.A. Williams.

Loose Future embraces uncertainty and jumps headfirst into big emotions, but with acute self-awareness.

A work of breathtaking beauty capable of connecting us more deeply to our truest selves and to the world around us.

Cool It Down is not only timely but a necessary album in evaluating the feelings of the present and looking ahead towards an uncertain future.

With The End, So Far, Slipknot haven’t reinvented themselves, but returned to their roots with an older, wiser and more concise outlook, resulting in a record that chews its listeners up almost instantly, and spits them out an hour later feeling beaten, battered and ultimately, cleansed.

Rounding off with the fitful “Wildfire”, Shygirl closes the curtain on a remarkable musical universe that shows she’s one of dance music’s emerging greats.

Souls may be sold separately on the trail for gold, but respect is earned, and Freddie Gibbs continues to rack up the points with another stellar entry in an almost-infallible collection of projects.

It’s a very buoyant creation - perhaps her most levitous release since Debut - that concerns itself with ancestry and legacy.

Overall, this is an album that makes so much of the distant past and the present through intelligent working with and against classical music conventions. Recommended to anyone wanting to experience a beautiful and evocative soundscape created out of a highly original sensibility.

Doggerel finds the American alternative mainstays reinstating bittersweet peaks and ironic edge, the interplay of Black Francis and Paz Lenchantin’s quasi-mystical vocal patter joining songwriting that captures the four-piece’s creeping, jack-o-lantern-leering spirit.

Despite only being seven tracks long, this album is substantial and will keep audiences invested.

The execution itself often falls frustratingly flat, lacking originality and a clear-cut focus. With its limited scope of musical conceptions, Born Pink, therefore, sounds strangely restricted, as if detained in a confined space wherein it longs to escape.

So sentimental and lyrical the whole thing is, and its content remains forthright and honest throughout. It is, indeed, a gratifying holistic experience.

With Tired Of Liberty, The Lounge Society have mastered the art of making music that conveys a message, and done so with incredible prowess.

Both parties benefit from the collaboration on Ali: Touré gets to paint the songs he loves with a wider palette without diluting the power of the source material, and Khruangbin’s add some welcome grit to their smooth and hazy signature sound.

Yes, the album could do with some variation in its sound and a few more wildcard tracks to switch things up a bit, but overall, MOSS is a gorgeous outing for Maya Hawke.

Though it feels glued together by the seams, God Save The Animals, like the best Alex G efforts, eventually reveals an almost impossible cohesiveness – a slightly off-kilter haze where a smouldering heart shines for others to lean into.

Tough Baby demands your attention; it's a dizzying array of vibrant innovation and determination to be counterintuitive.

This certainly isn’t one for Mumford & Sons fans. There’s no big, foot-stomping, sing-along moments here; instead, the song arrangements are sumptuously layered, built on many little, delicate, moving parts, masterfully put together by producer Blake Mills.

With its attention to detail and exceptional vocal delivery, The Hardest Part is a debut for the ages. An album that is both culturally relevant and sonically refined to the point of timelessness.

Taken as a whole, this is a perfectly enjoyable album if you want your music to be nostalgic, friendly and accessible. If you’re a jaded rock fan looking for a newish band and a reliable sound, Starcrawler are for you. For everybody else, proceed with caution.

Djo yet again proves an adaptable vehicle for such madcap energy and chameleonic shifts in style, an earnest and well-finished delve into another sphere of Keery’s artistic voice.

Asphalt Meadows acquits itself well. It’s there within the measured tread and stark atmospherics of "Peppers", or the twinkling sun goes down gorgeousness of “Fragments from the Decade” where loose limbed almost jazzy drums shuffle off into the distance, of course your mileage may vary according to your own particular emotional pressure points.