Asymmetrical and pitched up and down at any given moment, Miscontinuum is an unwavering data stream whose moments of relative clarity still press on your temples like a tightening vice.

Enthusiasts will salivate over another uncovering of tainted treasure.

Booming walls of sound are favoured at the expense of nuance, leaving Belong too regularly thirsting for a banner hit, and ultimately, offering a perfect example of why bigger isn’t always better.

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.

Good stuff, but their epics, like 'The Quick Mile', are curiously unengaging. When that track is immediately followed up by the captivating Eno-esque minimalism of 'Waves & Radiation', it's clear that their real talent still lies in crafting eerie electronic vistas.

The full length return of The Streets, it offers Mike Skinner at his most vivid and most forgettable, offering moments of illumination before retreating into darkness.

It’s an accomplished album, but it feels like a debut and there is nothing here that gives any kind of excitement or majorly distinguishing feature that comes with time.

Like the Tin Man from The Wizard of Oz, La Di Da Di too often feels like a soulless automaton tearing around on autopilot. If only it had a heart.

Lolloping along with little desire to vary pace or style, it is ultimately forgettable.

Loose vocals meander through the whirling haze, the album more suited to intimate, personal listening rather than gatherings in the sun.

In their bid to capture the essence of their bluesy, garage rock, Cage the Elephant have effectively managed to lose the quirky personality they once had, and whilst Tell Me I'm Pretty is far from a homogeneous record, the tracks do have a tendency to bleed into one another, particularly on repeat listens.

A fine sound indeed, but one that could have been better with a shade more variety injected into proceedings.

The results are mixed.

‘Doggerel’ isn’t a bad record, it’s just missing the audacious grit that is so entwined with the bizarre charm that makes the PIXIES so remarkable.

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 will inspire obsessive fandom and moisten a few eyes, but Henson’s voice is something of an acquired taste.

There’s nothing that lifts it from being middle of the road Einaudi. Then again, standing on a cliff listening to middle of the road Einaudi is never a bad place to be.

At times the effects are superb.... However, there are wobbles with the quality control.

Welcome To Sideways sits comfortably amongst older material, but is more regressive than revolutionary.

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

Lyrics like “I’ll stay young to be saved” (‘Be A Kid’) come across as self-indulgent and frontman Sam McTrusty’s reedy vocals get lost in menacing tracks like ‘I Am An Animal’.

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

It makes for a focused, solid offering.

With clean production and virtuoisitic precision, imagine a Latin, metal, jazz inspired mellow mele, on acoustic instruments.

One thing is for certain: they've produced a much more pop orientated album. Clash isn't anti-pop, but we are anticheese.

Reid’s soundtrack is vibrant, but it can’t save the album from its own tedium.

Ultimately ‘Fighting Demons’ works almost as a tribute record, gathering fragments of his undoubted genius. Whether it’s a true Juice WRLD album, though, is another matter.

The moments of nu-disco are superb, yet are weighed down by the sometimes-cringey segments of auto-crooning.