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.

Nile Rodgers-esque guitars are a key feature throughout Life Is Yours. Aside from the more laid-back Flutter, the album’s danceable tempo shows no respite across its 40-minute duration. Its production is also extremely cohesive.

This is perhaps not as immediate a record as Faith In The Future, the narratives of which were foregrounded in the song titles a little more, but it stands up to repeated listening just as well, and confirms his status as one of American music’s best storytellers, in the same mould as Leonard Cohen or Lou Reed.

Though she’s on the edge of slipping into Adele-esque poperatics, this is a bold and confident first LP from a producer--and singer--with great potential.

It’s not just that Toro y Moi is becoming more sonically ambitious with each album. He’s getting better, too. With Boo Boo, even retreading old ground is somehow an exercise in innovation.

I and II are both lean, economical, sweet and seemingly genuine. Both have a similar emotional tone but demonstrate some stylistic differences. The songs on II are a little slower, groovier and less manic.

Everything that grooves here (over half the album, which clocks in at 19 tracks) is great and makes you want to see the band live. The rub? Making a New World is a song cycle about the after-effects of the First World War.

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

It’s a record filled with trite sentiments and well-trodden musical ideas (or in some cases, badly-trodden).

While an intriguing return to Dwyer's roots and to Dawson's charming voice, Memory of a Cut Off Head is a typically strange experience from OCS and one which might not translate to newer fans of the band looking for their trademark psyche-punk sound.

Superorganism could've been the perfect indie pop record if they'd have cut back a bit on the style and added a bit more of the substance.

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.

Compared to their past work, the album lacks intensity and seems to rely on a heterogeneity of unrefined styles, making it seem more like an album of covers that flirts too closely to the tired hip-hop trope of a single, aimless verse.

It takes multiple listens to get to the heart of this record, each one well worth your time.

Where WU LYF once teetered on the cliff-edge, barking every utterance like they knew it might be their last, they're now sure-footed and comfortable, speaking with a conviction that can only come with experience.

While the album can feel sluggish at times, Ring’s knack for constructing textured sonic architecture is still a draw.

Means is shadowed and dizzying, sour and fleeting. The album captures the essence of an indie sound that's almost universally considered to be jaded, and proves that the genre may be weatherworn, but its framework is ripe for a renovation.

Ultimately Honey is one of the more interesting experiments in the use of AI, but in this case it feels like a watering down of emotional impact from an artist who has never had an issue when it comes to capturing hearts and moving bodies.

Drastic Measures is a firm step up from Primitives, and an album that continues to demonstrate the development of Sellers’ effervescent sonic world.

Far from the carnival of featured guests that was 2017’s 26-track Humanz, though, The Now Now, at 11 tracks and with only three comparatively unobtrusive features (Snoop Dogg and Jamie Principle appear on Hollywood) is tighter conceptually but looser as a listening experience.

ODAOTWMA will do little to challenge the Sheffield band's twee reputation, but the record crosses genres with far greater experimentation than they're known for.

Weatherall is known for bucking trends, forging his own path in electronic music and this album undoubtedly has an experimental, narcotic-tinged feel meaning Qualia will not be for everyone. An album for the heads.

Her career to date might have been bolstered by a stellar string of friends but there’s one thing that the multi-instrumentalist is more than capable of handling herself – the artful knack for sincere songwriting.

Sallee’s songs tend to expand outwards, the feeling established at the outset spreading itself thinner as the loops cover more area.

The tunes are massive and buried in strings, synths and stacked harmonies, but the subtlety of the lyrics is lost in tunes like the Gary Numan-esque In Eternity and Broken Algorithms' Appetite for Destruction obsession. It's left to album closer The Left Behind to offer a signpost to where the Manics could go next.

Bulat performs with passion and authority. Ten songs and not a hint of filler.

Aimless and fussy, Heartworms sounds like the kind of album a person with slightly too much money, their own studio and a massive ego would make. Crushingly disappointing, this is, alas, no return to form.

As soon as you get a grip on it, TFCF wriggles into another shape. But even at its weirdest, Angus Andrew’s songwriting couldn’t be clearer, and that’s what makes it a mess worth unravelling.