Kilo exchanges pure visceral impact for control and composition, but in doing so it focuses its own energy into a sharper edge.

Silver/Lead is an exhibition in restraint whose brilliant corners and burrowing phrases reward both the keen ear and repeated listen.

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.

An album that is dense, involving and rewarding.

Numan's appropriation of Arabic musical patterns, textures and instruments can make for mildly uncomfortable listening at first, but on repeated plays these are the moments that really stand out. His decision to directly incorporate these less familiar (to the western ear) musical mores into his already alien-sounding style pays off.

This is a record with conflict, displacement, trauma, and tension woven into every seam, and all the more powerful for it.

What you will find is an artist keen on experimenting with mood and form. Much of the music probably makes greater sense alongside the dance project, but as a standalone piece of work it offers welcome insight into another side of Hadreas’ artistic temperament.

This a sensitively curated survey of Czukay’s many-splendoured oeuvre, and it makes a good case for Czukay as the OG granddaddy of modern German music.

These re-conceptualised variations still stick to her greatest strengths: pure musicality, melodic (re-)invention, and artistic lucidity.

Our Raw Heart is a crushing and stirring doom metal affair, a cathartic album created after guitarist and vocalist Mike Scheidt suffered a severe episode of diverticulitis early last year. It shines with a rare beauty. The music ebbs and flows from ballad-like meditations reminiscent of Earth to the caustic sludge of Yob’s early records.

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.

Its story expands on the journey and transitional creative period their last release embarked on, in a way that both compliments their past while not being afraid to introduce a slightly weirder path.

Reloaded is the sound of the impressive talent behind 2010's Marcberg blossoming into greatness; one of the best written rap records of this young decade.

Trappes has a strong sense of dichotomy, that every aural high has a low, the smooth always has the rough, the light is brought down by the heavy. It is an embodiment of grief, which subdues us with shock and makes us lash out with anger. .... And like grief, even though Trappes’ songs don’t feel linear, there is still a progression in them. There isn’t a definite resolution to the album, but it’s cathartic all the same.

To my ears, the songs here still feel like detailed, unfolding odysseys rather than studio happenstance but, no matter their method, the results catch lightening in a bottle, again.

With this album, Ministry Of Wolves have done both Anne Sexton and the Brothers Grimm proud; bringing their own gothic legacy to bear, and returning their work to the dark forests where they belong.

Iradelphic, which has evolved out of Clark's live shows, marks a change and may be a little surprising to longstanding fans of the man – it's less ethereal, more compact and cohesive than the electronic experiments of Clarence Park.

It is impossible to separate the synthetic from the organic here. ... At points I find myself asking if some of the sounds that I am hearing are even really there or if my brain is just filling in the gaps. Each time I listen through an alternative medium, different textures emerge.

The alchemy between the two musicians is palpable and electric. They couldn’t be further removed from the genres that made them famous – from pop’s gleaming, detached lights – and they fit in with confidence and raw honesty in this new environment. Finally, their long-desired quest for their true selves might have come to an end.

Overall 2R0I2P0 works incredibly well and shows that the partnership between these two titans still has plenty of gas left in the tank.

Dying Is The Internet is a different breed, boasting fully-fleshed, albeit unorthodox songs that impress with their serpentine arrangements.

The more cultivated recording process allowed textures such as strings, Tacular's accordion and Moore's sonorous and charismatic vocals to assume a richness that has not been heard before.

This is a record which deserves your time and effort; it is not an easy listen and nor should it be. It is a dense and weighty work of art which examines the areas between life and death in which we shall all find ourselves. Kevin Richard Martin is making music about subject matters almost wilfully unconsidered by many due to the sheer terrors represented within their everyday realities. If you're human, then Sirens will resonate with you.

Nature provides a home for Welcome Strangers. It offers shelter, and sheds vital warmth--and light--in times of uncertainty. It’s the bedrock of this heady compendium of haunted disco lullabies for foggy urban woodland raves and psychotropic campfire sing-alongs.

With clicks, thumps and such acoustic subtleties, Vienna Blue unfolds like a rapid sequence of silver-screen freeze-frames: each too brief to comprehend fully, but collectively long enough to spark whole worlds of fantastic imaginations.

On the surface, My New Band Believe is a fully-acoustic singer-songwriter record, but whole strange worlds exist in every groove.

Movement is one of those lovely surprises that makes you think, "Of course that's how music should sound right now".

Dirty Projectors is not quite that good [Primal Scream’s Screamadelica]--few records are--but it certainly drives a stake into the ground as to what guitar bands could deliver in 2017 if they would only open their ears and minds up a little.