Tainted Lunch is an irresistible delight; once you taste it you know you can never go without it again. Seductive, inescapable, overpowering, and you might need to take a shower afterwards.

It’s only six tracks long, and all of the tracks are under seven minutes, but it often feels twice that length. Souleyman’s music has always been intense, but Shlon feels as though it’s been dry-aged, sun-dried and mummified – his voice seems rawer and wilder than ever, the electronics are fiercer and sharper than before, and each of these jams has a sonic gravity you would expect to find in a Berlin club at 2AM.

As a whole, the album rejects traditional song structures, though the final three tracks (“Shy”, “Fade Away” and “Make Believe”) are arguably the most melodic on the record. Such a duality implies the sheer range of Diamond’s artistry, so much so that it would be criminal to label her a “new kind of popstar”. Simply put, she is a new kind of star, an artistic voice that stands out in the tumult of the modern musical world.

While there’s no memorable poppy chorus here, or lush, full-band arrangements, or zany quirkiness, Hyperspace is nevertheless totally Beck: an experiment in broadening his own horizons, trying something new, which yet again just so happens to sound quite refreshing. It’s a worthy addition to this musical chameleon’s catalogue.

Here, we observe Celeste widening her scope by lessening it, capturing new forms of light as a nascent force – one who has quickly catapulted her name into the stratosphere of what it takes to rebrand and revolutionize the club.

Coldplay are a band who explore. Be it the origins of their emotional landscape, or the shallow depths of the mainstream world or even the actual vibrancy; every effort has been made to create an audible spectacle. And gaze on as a band who've evolved into an unstoppable entity carry on their organic exploration.

You can come here for the unsuspecting pop songs, the meditations on traditional Scandinavian folk music, the strange humour and infectious friendships. Against the great abyss of tangled internet information, Saints and Sebastian Stories is an unobtrusive gem.

Heavier than his last offering, this is an album that sees Maltese dissect his psyche during a particularly rough time, and lay it out on a plate. Matt Maltese is an artist bursting with true musicianship and this record demonstrates the versatility that underpins his enormous talent.

It’s the moments of clumsy transitions, erratic woodwind inclusions and underwhelming choruses however that throw some doubt on that suggestion, but there's still much to love on Girl.

In short, there’s a sad irony to the title of this album; as a body of work, it derives courage through its commitment to playing it safe.

It’s disorientating, harrowing, yet hopeful – the ending needed to complete the circle. The only thing to do now is go back to the start and enjoy it all over again.

These are songs written for the sheer joy found in creating and sharing that still hold within them a much deeper core. ... Beautifully constructed, candid, and hopeful vignettes.

Overall, this material is essential listening for hardcore fans of Bob Dylan, recommended listening for fans of Johnny Cash, and somewhat life-affirming for folks who have Nashville Skyline as their favourite ever album. But for everyone else, there is the sense that this material making up its own standalone set shows either a lack of foresight or a thirst for dollars.

Free and unshackled - while also troubled and brooding - is a decent way to summarise this hypnotic, deceptively sparse gem of an album.

For those who already love the album, the remix works best when Litt’s touch is relatively light. An intriguing aspect of the remix is the renewed focus on Stipe’s vocals. ... The remix aside, this reissue should be a chance for those previously sceptical of Monster to give it another try.

Each featured artist brings their best game and does what they do best. And in return, K&K thrive, bouncing off the energy of their fellow artists.

There’s the sense that the artist is using this record as a transitionary vehicle, a space where he can blend familiar themes with unfamiliar sounds, adopt different lyrical approaches and mix them with different styles of production and instrumentation. Such an effort is testament to Sweatshirt’s status as one of the foremost artists of the hip-hop avant-garde.

It is an unsparing, anguished release in which we see an artist laid bare and tapping into a more natural and resonant version of her sound and self. It is the fullest and most developed work from FKA Twigs to date.

He found himself in a rut, did what many of us would be too scared to do, and spent time with just his thoughts, for weeks on end. He waded through them, and came out the other side with his best batch of songs in years.

With Your Wilderness Revisited, William Doyle hopes to bring you along on a magic carpet ride through suburban England, where you will find new ways of experiencing pathways, front gardens and parked cars as though they were entirely new concepts.

The album marks a significant advance for A Winged Victory…, in accepting the challenge of unorthodox inspiration, and doing musical justice to it in highly convincing fashion.

It’s a fine line to walk between variety and novelty. Metal Galaxy dances along this line in admittedly very fun way, but that fun is at the expense of true depth and soul.

In its bone-chilling, earnest spirit, we witness Swans maintaining a power they never lost – we see them exceeding expectations, branding themselves as a seismic force in experimental rock, and here, they continue to touch on that greatness.

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 is possible to be fooled by the compelling, sugary pop song layers that unfold on this record, but there is so much more going on underneath it all and therein lies some of the complexity and fascination.

In short, it’s a bit of a misfire.

While Life Metal serves as the stronger of the two LPs, Pyroclasts holds its own, musing reflection placed boldy alongside atmospheric fury – two elements that have shaped Sunn O)))’s career and why they continue to be ranked as a top-tier act capable of reconfiguring heavy metal and pushing it into new territory.

People will say it's better than its predecessor, but at least that album had the good sense to be as gross as it was unlistenable. JESUS IS KING isn’t even as hilariously shit or infuriatingly offensive as Ye – it's one great tune and a bunch of other ideas, and it isn’t entertaining in the slightest.