Let’s Go Sunshine is a solid album, though not groundbreaking. It is clear that The Kooks have tried to deviate from their established sound in a way that doesn’t completely alienate older fans, and rightly so.

This might not be as immediate and catchy as previous Animal Collective releases, possibly due to Panda Bear’s absence, but its one of their most transfixing and beguiling.

Whilst adhering to a pretty well-worn formula with the usual rousing emotion ebbs and flows, Gibbard’s ability to paint such vivid imagery with his carefully considered approach to lyricism does warrant revisiting, despite some moments proving patchy than others.

Lighting Matches isn’t a bad album, but sadly it doesn't excel either.

Move Through The Dawn is an album sadly bereft of impact, from its lacklustre cover onwards.

RL Grime seemingly wants to keep everyone happy and while that approach will almost certainly find success in the clubs or the fields of Coachella it often hinders rather than helps his studio efforts.

BDL Bipolar will give Narstie’s fanbase plenty to enjoy, and while the juxtaposition of staid instrumentals with subversive lyrics is jarring, he remains a gifted MC, worth hearing out.

44/876 is like a hilarious fever dream somehow brought to life. Not entirely awful.

Turner’s inconsistent seventh LP may not compare with the likes of ‘Love Ire & Song’ and ‘Poetry Of The Deed’ but a willingness to experiment paired with a deceptively simple message make it a decent, if unremarkable addition to his stellar back catalogue.

There’s still plenty to admire here, especially Gracie’s emotionally raw, brittle vocals and despite the record’s shortcomings, this remains a solid, entertaining debut from an exciting new talent.

The highlights on this project are the glimpses of musical experimentation, but unfortunately the album doesn’t have enough of these to really shine.

The Doom-helmed ‘Lil Mufukuz’ and Phat Kat’s ‘Bubble Up’ show the Dabrye-plus-MC chemistry at its best, but if there was ever a criticism of the previous entries in this trilogy, it was that Dabrye struggled when it came to trimming the tracklist. ... The same is unfortunately the case here too.

For the most part, regrettably, Geography only showcases a producer out of his depth behind the mic.

It’s not that Nihilistic Glamour Shots is some objectively terrible record, but it’s certainly not a great one. The music isn’t minimal, it’s mundane, a songwriting stodge that seems content to play in its own filth.

Call this a mismatch, a contradiction, if you want, but only he can fully acknowledge this seriousness, this complexity. And if this is a ‘coming-to-terms-with’-type record, it does suggest he is starting that process, even if--musically--the progression remains somewhat tender.

It is impossible to deny the craftsmanship with which the trio have sculpted the opening salvo of 'This Is It' and 'Loveless'. ... Sadly his talent for building epic, emotive crescendos does not overshadow his shortcomings as a lyricist.

With the obvious potential fully realised, 'Improvisations’ could have become an instant cult classic, but in this raw, rushed and unfinished form it is hardly anything more than a collectible item for curious die-hard fans.

Rather than a coherent and recognisable new sound, it seems as though all manner of ideas are being thrown at the wall to see what sticks.

In its entirety Marble Skies is a mixed bag that showcases the multitude of genres Django Django can draw upon, but it lacks cohesion.

Trading the band’s raggle-taggle instrumentation for vintage echo, Mac DeMarco slick and C86 crunch only oversaturates this occasionally loveable, mostly feeble effort.

Loma is an interesting concoction, but one that doesn't always necessarily gel. It's undoubtedly a lovingly produced set of tracks, filled with an almost tangible level of texture, but the songs often don't match their treatment.

For all its best intentions, Man of the Woods often feels rushed, occasionally underproduced and at times, unfinished. Lacking the effortless polish of previous releases, it troughs more than peaks and ends up floundering in its own ambition.

Tracks like ‘Feeling Good, Feeling Great’, ‘High’ and ‘Guillotine’ feel soulless and lack the gusto that DZ Deathrays have shown through their live shows and previous releases. Albeit brief, there are glimmers in which the duo capture the visceral and angsty essence of their past through the tribal ‘Back _ Forth’ and closer ‘Witchcraft Pt. II’.

Overall, whilst Semicircle does contain obvious flaws, this chapter of The Go! Team is here to have a good time and hopes you are too. And who can knock them for that?

The Time Is Now hangs together relatively well, and achieves what it sets out to do.

While the album is undeniably well produced and generally well performed, unfortunately Woods' fails in his first attempt to stand out from the crowd.

Was it worth that wait? That’s open to debate, but it’s definitely not an album you listen to and wish they hadn’t bothered.

While Bailey’s true-to-self, organic approach on Revelations should be celebrated, the record serves more as a transition than a defining peg in Bailey’s young career.