Itasca’s ‘Imitation Of War’ is a wonderful record, one whose spell only reveals itself over countless enraptured listens.

‘On Purpose, With Purpose’ shows an artist who continues to be authentic, whilst also realising that at this stage of his career he needs to adapt his style in order to achieve greatness.

While it’d be difficult to proclaim it her finest work, ‘She Reaches Out To She Reaches Out To She’ is certainly Wolfe’s most ambitious and careful-constructed album. Deliciously-dramatic in its nocturnal flair, it cracks open a whole new set of tantalising sonic possibilities for Wolfe’s and her collaborators’ future.

The Bones Of What You Believe is an exceptionally strong debut where every track is a potential single.

Whilst sonically Fixed Ideals can vary in its impact, Lande Hekt’s lyrics tell a relatable story in a crafty way, carrying the record all the way through.

No, it may not necessarily have many outside their core fanbase reaching endlessly for the replay button, but its therapeutic nonetheless as the band delivers what they’ve promised ; a personable, relatable collection of tracks that strip away their blinding shine as idols, replacing it with their warm glow of humanity.

The impressive chemistry the trio displayed on their earlier work continues here.

Assume Form isn’t a radical reinvention, but more a refinement. Live strings, for example, bring an organic warmth missing in some of his formative work.

Whilst for the most part this jam-session approach results in captivating instrumentals and intriguing points of sonic experimentation, at times it can become rather muddled, confusing and drawn-out.

One of the best albums Everything But The Girl have put their name against. A rich, atmospheric song cycle, it has the emotional heft of The Blue Nile and the production nous of Massive Attack. In the end, it could only be Everything But The Girl.

For a four-piece rock band from Texas, they still remain pretty difficult to classify and almost impossible to ignore. Play loud and enjoy.

A band whose early commercial ubiquity shouldn’t obscure the continued creative vitality of their work, Maximo Park open a fresh era with some of their finest work in a decade.

Big, bold and ambitious, it’s both a welcome return and a statement of intent.

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.

This is a sound of a warm, human futurism. A record that feels impressionistic and abstract, dominated more by feeling than theme. Heavy sounds deployed deftly. Sometimes it feels a little fragmented (like on the slightly off-kilter swagger of ‘We’).

A blindingly good debut.

For all the PJ Harvey comparisons Calvi will inevitably attract this record is more alternative cabaret than gothic melodrama -- and much better for it.

It’s a triumphant comeback.

While these are only flashes, they help make Corsicana Lemonade a progressive exercise in restraint.

His most cohesive, and delightful, to date.

As a body of music Exai lividly pulses, possessed by a half-life of disturbing magnitude.

Stuffed with bomb-ass beats and rhymes that will bang from Cali to Darlington.

It's palpable that the tracks are more at home on the stage, where you can feel the frenetic energy of the record itself, Georgia's boisterous on-stage persona coming through in abundance. On record, sometimes that energy gets lost in a noisy ether, her identity chopped and screwed into fragments.

In choosing to move down a more percussive path, the Phoenix Foundation set themselves a challenge quite different than those they had previously faced. 80-minute double albums are usually tough to follow, but they've chosen to reconnect with the spirit of the band rather than try to top 'Fandango' in a self-conscious manner, and in doing so have redefined themselves.

Albanese joins a select group of modern classical artists able to offer so very much without the need for words.

While by no means poor, this album does little to advance the reputation he has already secured, as one of the UK’s most reliable rap suppliers.

Earworm guitar licks and choir-like harmonies sprout unexpectedly from Goat Girl’s skeletal, unpredictable songs like wildflowers in landfill.

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.