Insomnia is generally solid, with more peaks than troughs. All things considered, it probably isn’t groundbreaking, and doesn’t feel as vital or captivating as Dave’s Psychodrama or Headie One’s Music X Road. But it’s a welcome addition to the artists’ respective back catalogues.

The bending of time and place and sights and sounds across this record leaves the listener with plenty to digest and a lot to be excited for with what’s to come from Squid.

It’s purposely chaotic and skeletal in places, but when the disjointed pieces are viewed as one, you get an album that is a fascinating and hypnotic listen.

The six impressive soundscapes are often desolate and overwhelming, with brief flashes of hope. What grounds Disconnect is Joseph Kamaru’s spoken vocal, delivered like warnings through static.

The music rewards multiple listens, with different emotional subtleties emerging in each one.

The greatest achievement across Charm remains Cottrill’s execution of another large-scale reimagining of her desired sound.

Wuthering Heights the album is an independent work of art. .... With a voiceover from Cale that sounds a bit like a corny narrative piped out in a theme park ride or immersive experience, the song ["House"] builds into a majestic, doomy dirge. But the rest of Wuthering Heights is a pop album, if a gothic one. ‘Dying For You’ and ‘My Reminder’ are immediate hits, while ‘Always Everywhere’ and ‘Chains of Love’ carry the swooping melodrama of a 1980s power ballad.

17 year-old Eilish has gone deeper into the weirdo-pop trench. Together with co-collaborator brother and producer Finneas O’Connell, she has drawn on trap and industrial pop to create a darkly humorous record about romance, rejection and addiction.

Utopia is not just an album about intimacy, it also expresses a degree of intimacy that goes beyond words--especially in the sense that her voice sounds so detailed here, and in the ways she works with Arca.

New History Warfare 2 is superfine, breathtaking, at once unnervingly exploratory and highly accessible, a record which leaves you grasping in vain for adequate reference points and peer comparisons.

It may be too early for most to declare it a classic, but only a few hours after its launch, it seems fair to describe Gang Signs & Prayer as a towering triumph.

One of the best dance LPs of recent times from one of the moment’s most valuable artists.

Occasionally there are pedestrian moments, as on the drifting 'Pill Hill Serenade', where the vitality dims and the sombre tone can feel wearing, so taking it all in is best staggered over several listens.

The church's natural reverb provides a chilling reverse-incubation to her trembling vibrato, and at times, her breath too itself is transformed into a fluttering instrument, frantically encompassing all angles of the space.

While not life-altering, how i’m feeling now is fun, fast and thoroughly listenable. It’s absorbing as a document from a strange period, and its diaristic, vloggy aspects provide an intriguing peek into artistry under pressure.

To the wider rock world, Yellow/Green deserves to be regarded as a left of field classic, whilst to the metalheads who were perfectly content with the Baroness sound as it was, the record may seem something of a disappointment, its straightforward and melodic approach to songwriting the antithesis of the labyrinthine complexities and huge riffs of old.

This is isn't album to fall in love with at first sight or listen; indeed, this requires a form of courtship between listener and album as the former, over time, opens up its many dense layers to first entice and then slowly seduce the latter into a lasting and meaningful relationship.

For a fairly short 50-minute album it's definitely something you can digest in one sitting without feeling overwhelmed. Nevertheless, In Conflict improves with each listen, new pieces of the puzzle falling into place, details making the picture clearer and more fascinating with each spin.

Singles [is] the first of their albums that really forces the repeat button; as good as In Evening Air and On The Water are, they're so emotionally draining that you don't exactly find yourself in a hurry to play them again right away.

Ebbing and flowing between order and chaos, A Universe that Roasts Blossoms for a Horse feels like a long ride in an entropic machine, programmed to descend into mire and din. As such, it’s never dull, it’s just you sometimes wish it had a couple more places to go.

Miss Grit’s debut full-length dials down the dimmer switch for a more intimate entry into their songs. ... It is Miss Grit’s lovely voice that captivates – simultaneously strong and breathy, the way she effortlessly jumps between the notes of these interesting melodies really standing out.

For all the scrapes and judders, it’s these elements that elevate Osmium’s work beyond the merely curious and propel it into the downright compelling: the ability to corral these strange mechanical sounds and wring from them something primally, achingly human.

It shouldn’t work. But it does.

Tonally and generically, the album is not so much a continent as a small country. But it's a beautiful country, warm and vibrant.

The exquisite nature of this slices of dappled pop genius is a joy to behold.

As a whole, Shackles' Gift is more obviously tuneful and considered than its predecessor and, as established, thematically watertight. The most interesting thing about it, though, is that it works outside of this context.

Nothing Great About Britain, a measured yet viciously ribald meditation on the contradictions at the heart of Britishness in 2019.

It’s a relief to state that their new album Polymer is very much Plaid’s best album this decade, and at least their best since 2008’s Heaven’s Door.