After the insular mood of Quaranta, with its themes of addiction and depression, it’s refreshing to hear Brown having unabashed neon-lit fun.

The key success of Hurry Up is that his canvas has exponentially increased in size.

This is a powerful, balanced, personal and at times harrowing album that is deserving of your attention. Each listen seems to add further layers of depth and seriousness. Spend time with it.

Laid-back philosophies punctuate this album, which again suggests a kind of bemused contentedness with life. There's nothing too highfaluting or over-stretching, though musings are thought-provoking enough.

Hood and Mike Cooley, the only original members left, handle all of the songwriting for the first time since the band's 1998 debut, and it makes for a unity of vision that prevents the grief from sounding gratuitous, that makes the uncertainties resonate with our own.

Any fears that the band is skimping after such a delay between releases are soon allayed once the music starts, for what we have here is a high concentration of ideas that punch well above their supposed weight.

Whilst Bandana doesn’t have Piñata’s same effortless sense of an instant classic, it has considerably more urgency and contemporary punch, also reflected in the once-again immaculate choice of collaborators, Killer Mike and Pusha T in particular contributing a devastating sucker-punch to ‘Palmolive’.

Despite everything, CEL never feels sprawling. It’s not complete anarchy. The arrangements remain lean and starched, austere even, with clipped, unprocessed jazz drum breaks regimented underneath icy, hyperactive square wave arpeggios.

On the surface, Garson’s album (not least the directive that it was to be played to help plants grow) seemed typical of that drift. Beneath the heavy topsoil of kneejerk A&R, however, a deceptively nuanced and downright irresistible feat of pure electronic minimalism lay in wait.

These 12 tracks serve as a bombastic backdrop for Svenonius’ treatises on living the life of an anti-capitalist svengali; they're a guerrilla garage rock manifesto imbued with fever, fervour and soul.

With Homesick, Matrixxman has at last found a depth of exploration and expression that stands up to the ideas so visibly floating around the edges of his work.

As a work that gathers up so much of what’s going on in modern dance and electronic music in 2017 and finds ways to make them click together, Mnestic Pressure feels like a game-changer, or at the very least a defining moment. Time will tell.

While at first listen Everything Is Alive might seem plain and minimalist, its flavours can be savoured for a long time. A bit similar to a perennial flower regrowing every spring. Like wonders of life and death hiding beyond the seemingly impenetrable façade of routine and time, its sonic complexity lies beneath the surface.

These marvellous tracks aren't marked by much in the way of bustle--not much necessarily changes over their elegant stretches. But that isn't to say that not much happens.

Made Out of Sound might be one of the finest things either Corsano or Orcutt has done, which is no mean feat.

While some of the music drifts a little close to the milky reassurances of New Age music (‘Praying for Mother / Earth Part 1’ places seemingly random plinking notes over the top of rippling running water that challenges the listener to not run to the loo), other tracks, such as ‘Variation – III’ by Masashi Kitamura + Phonogenix, move gorgeous ambient chords around the sound of waves licking the shoreline, a peace punctured occasionally by a chū-daiko drum to wholly peaceful affect. Together, the twenty three tracks here promote a warmth that feels somewhere close to paradise.

Ba Power was recorded in short, raw sessions. It hits hard, yet ingrained in every track is the sense that Kouyaté is letting loose of his previous restraints. This, is surely Ngoni Ba as he always wanted them to sound.

JP3 is a rollicking delight, exactly the sort of album we need right on the crest of summertime. Its power, though, will last way beyond the summer.

The world has changed, and, though bruised and broken, the sincere, generation-galvanising Sleater-Kinney have changed for the better.

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.

A ghostly and passionate debut.

This is an extremely strong, varied follow-up from an artist who is yet to fulfil his potential.

If to stir is to mix and combine, or to transform something that was one thing into something else, this shows what Kleijn and MacKay can do so remarkably when set to that task.

On Your Wilderness Revisited, Doyle sheds himself of the bad habits he developed as an emergent successful recording artist in East India Youth and takes on the role of the Proustian artist. He takes pleasure in and extrapolates beauty from the suburbs that raised him, and takes pains to share that beauty with us.

Compassion is such an easy listen. The melodies are so cheerful, so simple and memorable, they require absolutely no effort to enjoy.

In rock, rehashing the past more often than not results in music that sounds anachronistic, but Unfidelity is proof that in electronic music, a disregard for technological progression can still result in a forward-looking album.

Trupa Trupa’s ongoing refusal to engage with anyone but themselves is certainly addictive to listen to.

Blade of Love is a piece that takes the ideas and challenges of their debut even further without losing any of their focus or animal thump.