Rush! perfectly captures the sense of spontaneous authenticity that makes for a one-of-a-kind show. Måneskin continuously prove that outcasts deserve a good time, and they are here to give it to us.

Crush may be some of Floating Points’ most assertive work, but sinking into its rich and deeply layered textures reaps countless rewards.

Physical boasts one hell of a range of tracks, some suited for dancing but all suited to telling Gurnsey's favourite story. With it he's created a new and independent take on house proving that Gabe Gurnsey is not just a member of Factory Floor but a solo artist in his own right and style.

Produced by Dave Eringa (Manic Street Preachers, Idlewild), Angry Cyclist offers a little less gravitas than usual in truth, but the taut Telecasters that dominate The Proclaimers' eleventh studio album provide a tension that seems to sit well within the heart of these prescient compositions.

IV isn't Black Mountain's most ferocious album, but you might well find it their most profound.

Never does she let these arrangements overshadow the most arresting part of her work though: her own voice.

The Practice of Love is a powerful and joyous offering from one of the last artists anyone could ever accuse of playing it safe. Her unorthodox observations ('She found stretch mark cream / In an Airbnb bathroom') are, more so than ever before, full of wit, bite and beauty.

The band’s latest effort doesn’t fully shrug off the creeping sense of familiarity, but for the first time marks a real step forward. Glowing In the Dark’s most successful moments are those that stray the farthest from the band’s blueprint of sun-washed guitars and cascading vocal harmonies.

Every second of the record is unconventional, rule-breaking, and mind-bending; the kind of album to ride a horse into sunset to. The Bitchos kick ass and you just know they enjoyed every lasso-twirling second of it.

Lex is inspired by lofty philosophical goals, on attempts to 'communicate a world distant enough that it can't be captured or comprehended in the present.' On this front Lex is undoubtedly successful, sounding consistently otherworldly, but still retaining enough humanity to make it effective.

Their confidence is so clearly on show here, and despite two fresh members for the album they're already tight and unanimous of their vision: "to make interesting, up-tempo rock & roll."

The trick that Johnny Lynch, aka Pictish Trail, has pulled on us all, however, is that beneath the froth and the dayglo is a set of songs that truly shine, sticking to your ears like Silly String, getting tangled in your brain and your heartstrings.

What is clear is that Ride's fifth album is something of a triumph and infinitely better than many a fan could have hoped for. Almost 30 years on those vapour trails show no sign of fading just yet.

Allison’s debut Tourist in This Town shows she certainly has the potential to go it alone too, provided it’s on her own terms.

An album of just Danilova's entrancing voice would be sufficiently good, but ARKHON shows a restless creativity that warrants all of your attention.

Yet though FIBS skips swiftly between moods and sounds, Meredith’s innate ability to bring these parts together into a collection that’s both bursting with compositional creativity, while still maintaining its own sense of cohesion and an accessible edge, inspires awe. It’s no lie: Meredith has struck gold once again.

Her zephyr-like voice acts as a guide through her mind, gentle yet assured, and the tone of her delivery illustrates the grey intricacies that shade her world: past, present and future.

It's a low-key record for a certain type of listener--this isn't a band clamouring for arena-rock status, just one that is happy making good music and having fun doing it.

Like The Bride, there is a common conceptual thread running through these tracks, but unlike that record, there is less effort exerted in shaping them to fit a narrative. The songs are better for it, each unspooling like a miniature movie of its own without the same need to move the story from point A to point B.

KiCK ii is deconstructed reggaeton. A great idea (see DJ Python), but it makes for some of the least interesting music of the whole collection, as the first half leans on typical reggaeton beats (though nicely spectral on Rakata) for fairly straightforward songs.

As its title suggests, Chris is a supremely confident introduction to the next phase of Christine and the Queens.

Take Me Apart may not appear as immediately interesting and unique as her previous work but there are layers upon layers of elements to be explored, digested and, ironically enough, taken apart.

The result is a melodic and chilled-out collection that ripples with sonic goodness.

Although the spiritual undertone (providence meaning ‘divine guidance’) feels somewhat overdone, Fake has created a truly impressive release--managing to weave together diverse and eclectic sounds into a cohesive whole.

While there's nothing particularly new or breakaway on this self-titled release, it’s a familiar feeling that will leave fans more than satisfied.

Once again working with Americana producer du jour Dave Cobb, Shires uses this record to push her sound to another level.

Great moments in great songs ('I love you, there, I said it') still seem to be deep enough waters for EELS to swim.

Sprawling, magnificent, dangerous and fantastical; this beast is--however extraordinary--an apt representation of the 11-song extravaganza it adorns here.