An album of scope and unbridled invention, drawing from the past (in both music and aesthetics) to create a universe of sounds and textures that are quite unlike anything around at the moment.

It's certainly Omar Souleyman's most user-friendly listening experience. Hebden's democratic production style and mixing board economy, valuing every instrument equally, makes it less relentless than its ancestors.

Not a bad album at all. In fact, at points it's really rather wonderful; it's just not quite the wall-to-wall fruity bangers one probably expected, but by no means as skip-heavy as the likes of Random Access Memories.

Dissed And Dismissed is basically all gold, as long as you're not so jaded by years of inane indie chirruping that any combo of upbeat guitar melody and sad-lad lyrics induces a visceral reaction.

What Long Island captures is the warm sound of the room in full flow--it's a live album, really, recorded in a studio but improvised on the spot.

There's a huge lack of definition, and even with the volume cranked high, the dynamic surge previous albums from the group have led us to expect is absent.

An intriguing listen. Just when you think you have it worked out, Souleyman changes the script, and tempo, and you’re back to square one.

Compared to 2013's Innocence Is Kinky, Apocalypse, Girl is less noisy and more thematically united.

Fifteen songs is probably a few too many, but it’s hard to imagine consensus among listeners on what to excise, and plausibly the band ran into the same problem. If so, they’ve earned the right to moderate self-indulgence at this point.

Nothing’s Real is proof that Shura has carved out a name for herself in a distinctly oversaturated market. Here is a pop star that has undoubtedly arrived.

When Brood Ma gets all his dice in a row, he comes close to nailing it. But more often than not, his attempts fall short because of their sheer hyperactivity.

Nothing here is complex or highbrow, but instead filled with the joy and clarity of understanding and connecting.

With Grievances Rolo Tomassi truly have mastered the creation of such a hybrid, heightening their melodies and anthemic qualities whilst retaining their brutality and technical prowess within the contours of a finely honed album sequence.

Blizzards is a beautiful and fun and affecting record that never fully succumbs to the easy allure of nostalgia over its expansive sixty-four minute runtime.

Make no mistake, this is gloriously hypnotic stuff, a fall into a rhythmic vortex that unscrews your head so it can pop your brain in the fridge. And, as the album progresses – most notably on the seductive ‘One Two’ – the realisation creeps in that what was originally considered abrasive has become a soothing form of chaos. An odd mix, for sure, but one that comes as sharp relief to the trying tedium of lockdown life.

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.

The good news is that BMB still tear it up. These recordings hit like the gut-troubling, sub-bass fists of a sonic pugilist.

It's an album which succeeds by virtue of elegance, and which knows a hell of a lot without ever seeming overly knowing.

Perhaps the main strength of 41 Longfield Street Late ‘80s is that these songs rarely turn out to be what you thought they might be, which is a fairly on the nose metaphor for life itself – especially viewed 35 years later through the distorted prism of the 2020s.

This album marks a continued evolution in a subtly different new direction for this most idiosyncratic of American alternative bands, one of the few "allowed" to deliver this most unsettled of musics in a quasi-mainstream setting. After repeated listens, I've come to the conclusion that it and No Answer: Lower Floors represent a welcome refinement of something Wolf Eyes have been articulating since their humble beginnings way back in 2000.

They perfect the formula occasionally - penultimate track 'Swept Away' matches its name, a pillow-soft cascade of plummy bass notes and piano house, across which their voices whisper like wind - but for much of Coexist they sound halting, nervous, afraid to push beyond the boundaries they've created around their sound.

This refinement in Mogwai’s modus operandi suits them well. Where once their revolutionary sound startled, their evolutionary execution now beguiles--and keeps them several steps ahead of the pack.

Ultimately, Hoodies All Summer sounds like it’s been ‘fixed’ by a major label trying to improve Kano’s chances of radio play by throwing some poppy hooks and production into the mix and praying for the best. This isn’t necessarily a bad thing in and of itself, but in this case the result is simply banal.

Their seventh stellar album in a row. .... The Alchemist makes for an inconspicuous partner, creating eerie soundscapes upon which Woods and ELUCID make things a whole lot eerier. And make no mistake, there are some hair-raising cuts here. .... Armand Hammer are equally adept at turning the world suddenly inward, punctuating political madness with moments of real poignance.

Which is the thing all the way through DSU, the parts that you recognise, that feel familiar (or rather Alex G's creation of a comforting sense of familiarity) make everything else seem richer for happening around it.

Only a few acts have really transcended local industry mores and enlightened amateurism to make something of truly wider, lasting appeal. And maybe none more so than The Homesick with this record, which should surely sneak through the gates of classic pop heaven.

Start with the bangers – and there are plenty, mostly front-loaded. ... It’s a visceral and strange album, one that revels in its abstractions, but is direct in what it has to say.

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