Parton’s eclectic tastes remain the beating heart of The Go! Team, but in producing a record genuinely representative of the band’s boisterous live shows, he sounds more revitalised than ever.

Working with a number of producers, he's created another collection of songs that speak directly to an intense and emotional connection with someone, and all the good, bad and sexy that come along with that.

Painting a portrait of life in Montreal, one hand... is narrated as much by hurt as it is by hope, and demonstrates Levy’s ability to develop her artistry without letting go of the colouring of sound that renders her music hers.

Face Stabber's length owes much to its two centre-piece tracks, which end each side of this double LP, Scutum & Scorpius (14:24) and Henchlock (21:02) which sees the band go in full-on long jam mode. However, Dwyer counterbalances this with some of his shortest, sharpest, shocks, maintaining the balance between punk and prog rock that only he apparently can.

Messy, discordant, and beholden to the serrated edge, there’s nonetheless a seam of verisimilitude in the execution.

Despite the seriousness of the lyrics, I can feel you creep into my private life manages to remain an uplifting album, with a collection of intricately-crafted pop songs that tackle a range of important current issues.

It's a decisive success from one of NYC’s most distinct exports – though its head may sometimes come before the beat, it is no doubt an impressive achievement.

It’s a jubilant and sweet experience. The least conceptually bound Zauner has been, she moves confidently through a space befitting of the multi-hyphenate artist she has become.

This is something at once new and familiar, and it demands your attention immediately.

Permanent Damage is a thoroughly impressive and self-aware debut from an artist who is unafraid to wrestle with feelings of loneliness, alienation, and self-destructive tendencies out in the open.

It's Yorkston's voice that will capture you. Whispered stories are nothing new in folk music, but there is something more compelling happening here, especially when the Scottish author breathes in tune down your ear over brushed drums or oscillating organs.

Even at the midpoint meltdown of Pain’s insistent fuzz-mangling, it's all sumptuously glazed with a thick veneer of moreish melody and buzzing hooks.

From the ghostly mid-tempo beauty of tracks like Missus Morality and my kiss era, to lead single Nurse!, bar italia demonstrate how to be complex and seductive, without ever feeling pretentious.

Yes, it’s different and experimental, but those risks mostly pay off, and the DNA of Dream Nails, the thing that makes them so special, remains at their core.

Immersive and lyrically heavy, but not without radiancy and light, Hookworms' ability to turn desperation into euphoria is a quality that makes this album a liberating, often healing, experience.

Ultimately, Need to Feel Your Love remains a statement of defiance from a band full of it.

In the main, Blu Wav is Grandaddy’s most grounded album yet, a triumph of reinvention.

Ultimately, this is an important record at a time when galvanising young people to protest is needed perhaps more than ever. While it's presumptive to assume Algiers have succeeded, this record definitely won't hurt the effort.

Overall, Follow the Cyborg is a striking debut with both surrealist sensibilities and melodic hooks – marking Miss Grit as one to watch.

The vulnerable romance of Falling In Love Again and tactile tenderness of Don’t Drown Me Out make for welcome detours in a collection of songs that is led so intensely by strut-worthy rhythms and that raw bad-boy edge.

Utilising ideas of breath, space and breeze to thrilling effect, this is Björk at her most reflective and inquisitive. There are no clear cut 'hits' as such, and the album clearly begs to be enjoyed as a whole entity rather than have its innards plucked and picked at. However, if given your full attention, it will transport you to paradise.

Blame is a pounding Faithless-esque banger; the angry, awkward Divide enlists the envious talents of Middlesborough rapper Shakk; and the static jams of Dancing On the Tables produce one of the most memorable tracks you’ll hear this year. Benefits are back, whether you like it or not.

It's yet another successful reinvention from the Californian artist who continues to be an impenetrable force, laying herself bare and rebuilding for all to see and hear.

While not every moment works as seamlessly as others and some track lengths can feel slightly daunting, the triumphs far outway the tribulations on this enthralling, emotional trilogy conclusion.

These songs can be small, even womblike, but no less detailed or ambitious for it.

At times it feels like a strange fusion of medium and message but it’s a triumph that Catholic Action manage to imbue an increasingly staid format with some revolutionary zeal.

At times, these eccentric – and often downright baffling – transitions in style and tone can be disorienting, but they also speak to Cunningham’s dexterity as an electronic auteur, and his refusal to play by the rules.

This is less innovation, more a soothing collection of unpretentious porch songs, delivered in superb fashion.