Engrossing, dark and irresistible, ‘Stray’ is a grandiose effort from an adventurous group, who just keep getting better all the time. Bambara remain a genuine force.

More than two decades on, the group’s era-defining work projects the same spellbinding urgency, continually taking guitar music to new places with imagination, force and creativity.

At just under and hour the album isn’t notably long nor short, but there are no parts that drag or feel out of place. This isn’t a hip-hop album, a jazz album, an electronica album...but something that will speak to fans of those genres who’ll take this as their album.

Dan Deacon’s return into the solo world has resulted in an exuberant fifth album that leaves us craving for more of his newly honed skills. The fascinating contrast between his acoustic and electronic backdrop leads us towards an elusive higher power, while some of his lyrics bring us back down to earth.

Jaar shows signs of evolving here, and it’s more than welcome. For a record that feels chaotic at times, everything falls into place.

A solar system held in place by its own revolutions, ‘The Slow Rush’ is testament to the patient productivity and unrelenting creativity of Kevin Parker.

The closest ‘Quadra’ comes to breaking new ground and entering unclaimed territory is the dramatic metamorphosis of Green’s voice during the nostalgic nu-metal hymn ‘Agony of Defeat’, not to mention the superb acoustic intro and the profane chorus of ‘Guardians of Earth’. More crucially, the samba drum-kit of ‘Capital Enslavement’ and the syncopated beat on ‘Raging Void’ shows that the idea of exploring percussive possibilities is slowly growing on them.

This is an album that shows a progression, but instead of delving deeper into harsh sounds, they have gone the other way, delivering something that feels light and fluffy but has the same lyrical hit as their debut.

Makaya McCraven breathes new life into not only the album but Scott-Heron’s legacy.

As an exercise in reclaiming control, in setting out her stall, it is a definite success, a hand-made pop exercise in an era dominated by algorithmic marketing plans. As a listening experience, though, it’s somewhat limited and frustratingly repetitive, ultimately paling next to La Roux’s previous heights.

It’s testament to JME’s influence that he’s able to pull in such heavy hitters, but also to his talents on the mic that he’s never overshadowed.

Green Day have delivered possibly their most immediate album this century and an album that, despite its short length, grows more rewarding with repeat listens.

The Neon Skyline is one of those albums that will probably never achieve the popularity with the influencers and loud crowds that one sometimes lazily associates with a “successful” artist. Instead, it’s more likely to be enjoyed by hardcore fans in a small venue eschewing the limelight for a communal lament of the lives of the narrator, Charlie, Rose and Claire.

‘Funeral’ is a mixed bag, and feels more like 24 tracks Lil Wayne had lying around than a coherent project. It’s a shame, because there’s a very good album somewhere in the 24 tracks on offer, but it’s weighed down by a lot of filler.

Despite the sadness that clearly surrounds this project there is plenty of positivity: the production of the album is impeccable, and the overwhelming message that shines through is of hope for the future.

Hard to ignore, her voice is glorious and rich, and her music intoxicating. ‘I Was Born Swimming’ is an intense journey to take with its creator, but it envelops entirely. You are where she is, you feel as she does.

By tweaking the American seasoning in their long-simmering stew of English folk, Smoke Fairies have finally delivered on their early promise to create an album you can truly get lost in.

A young super-group who are growing at a fast pace, their third album is glorious, ambitious and fulfilling, and it can take the band to new places and...loving spaces.

It’s undeniably interesting, but here’s hoping the clever USP doesn’t lessen the record’s staying power.

Nothing about this record feels forced but instead encapsulates Kesha’s outlook on the crazy and weird rollercoaster that is life itself.

‘Mind Hive’ will be remembered as an album that reminds us a price tag still can’t be put on our integrity – artistic or moral.

Ultimately, this album is a timely, much-needed, reminder of the fact that while suffering is inevitable, so is our resilience in the face of hardship.

‘Big Conspiracy’ never fully sits in one place, this ever-evolving puzzle with J Hus at the core. He wears many masks, but it’s often when these slip that ‘Big Conspiracy’ is at its most viral, and revealing.

With this album they’ve perfected their journey of the last decade of connecting with their musical past while pointing a way towards the future.

Compared to the previous self-titled record the features here are in sharp contrast, with less of a hip-hop emphasis. That doesn't mean they're not interesting, though.

Bombay Bicycle Club’s time away has propelled the band to a new plane of compelling sophistication, where musically and thematically they have evolved to create a beautifully profound and stunning soundscape full of promise and self-examination.

Manic is an imperfect collection of tracks - with high peaks of sheer genius along with the low falls - but it still manages to fill eyes with tears, hearts with love and minds with thoughts as it explores the life and times of a 25-year-old in startling, stark detail.

With this project he shows that age is just a number, defying any expectations that have been set by the rap scene.