This time, the concept of political awareness reigns supreme, accompanied by some funkadelicious licks from The Roots' guitarist Capt. Kirk.

t’s open season on genres here. There’s the puerile punk of ‘Hollywood’ (“makes me wanna puke”), and the misguided balladry of ‘What’s With You Lately’. But they’re the only real bum notes. This experimental streak finds better pay off on ‘Hymn (Remix)’, crammed with juddering synths, and the delicious 80s pop of ‘Can’t Cool Me Down’. Sometimes, they veer almost to the middle of the road, radio-friendly hit ‘Martin’, warmed up with muted brass and intricate looping.

The Blue Hour is unlikely to win Suede many new followers, but it should convince any fans of old that their vitality is restored and they are at the peak of their powers once more.

Though her personal tragedy has been transformed into an affecting record of real beauty, one truly hopes Li’s next chapter isn’t quite so agonising.

The only shortcoming is that Machinedrum lacks a definitive singular angle, making him amongst the frontrunners of dubstep/juke interpretation, but not quite ahead of the pack.

Food is a fabulous and immediate record, rich with muted brass and low-key electronics.

This is a strong record that's all the more powerful for being so wonderfully, majestically disjointed.

‘The Don Of Diamond Dreams’ is a glorious album that yields more and more with each listen. And listen you need to, because if you don’t you might miss something.

Overall, it's a glittering, multi-sensory synth-pop record that compels you to let yourself be transported through cosmic dimensions and the rich, textured under-layers of Beck’s creative psyche.

It’s an ambitious and sprawling work that tackles some big topics, but it’s not fit to hold a candle to the likes of ‘Lemonade’, ‘Blonde’ and ‘A Seat At The Table’, all of which have furthered the cause of confessional R&B this year, and have done so while being resolutely down-tempo.

Highlights ‘Voice’ and ‘Sonic 8’ will be a surefire test for any club or festival sound system to really prove its worth, and the cold, menacing techno of ‘Release’ sounds a bit like the insides of a power station working really hard to keep a city warm. That said, if you don’t have the huge rig needed to do these tunes justice, and with the days outside just getting warmer, it might be a tough sell to sit at home and curl up with ‘LP. 8’.

Best listened to with the context of Part 1, the way Part 2 rounds the 'Everything Not Saved Will Be Lost' era off makes for the argument that this is Foals' most accomplished body of work to date.

The album does lose momentum towards the end but hey, here we have a relatively new band experimenting with the boundaries of their proposed genre, with generally impressive results.

This is a debut with lots to love, abundant in experimentation and overall pop accessibility--and not many comparable collections can claim those qualities.

Sure, it’s not as good as ‘Turn On The Bright Lights’, but c’mon, it was never going to be. But as an exercise in getting back to where you once belonged, El Pintor is highly successful.

There’s little here to alienate his fanbase: these 10 tracks might sprawl in length but they’ve a familiar mesh of earnest words and slow builds, autumnal in hue but with a fireside warmth.

Some songs do pack a bigger punch than others, but at a brisk 33 minutes, the album never once outstays its welcome and even throws in a few surprises along the way.

Lovely tunes and scrupulous attention to detail make Resolve Poppy’s best album to date, equally suitable for quiet relaxation as well as a more conscious enjoyment.

This is the sound of Fevre going out on a high, its nagging beat and air of sensuality sounding utterly timeless, yet wonderfully, weirdly, unique.

Accept no imitators; SALEM are back and are still capable of giving us the ultimate soundtrack to the end of the world as we know it.

It's no secret that remix albums are often tricky affairs, especially when meshed with beloved rock songs. Luckily everything off Pony's dark twin is enjoyable, if not essential sounding. Overall, it’s a fun curio worth exploring and saving a few of its more ambient moments.

‘GRRR Live!’ has further cemented The Rolling Stones’ reputation as one of the best live acts of all times as well as being one of the most memorable shows in the band’s history.

Dream Wife’s self-titled debut is a satisfying and infectious trip of lo-fi indie pop that starts 2018 off with a much needed shot of adrenaline.

Ultimately, as a standalone record, Nothing feels somewhat incomplete.

Ultimately, the Achilles heel of the whole project is how invested, how much fans will truly believe in this. To some, it’s a meme stretched to breaking point, the elasticity of his flute-playing hauled out to become an opaque sheet, void of detail. To others, it’s an excellent – almost unclassifiable – mood piece. Whether it’s the meanderings of an internet-savvy millionaire or the crucial work of a modern day ambient auteur is perhaps in the eye of the beholder.

Unlike their first three albums, What Went Down arrives without any obvious standout singles and is a far cry from Foals' early energetic indie sound. On the other hand, it's impossible to deny that the overall album is a hugely accomplished effort from one of Britain's best surviving bands.

Sure, few will love everything on here but the hubris, yet the sprawling mess that is More Light can’t help but impress.

The darker, lilting tones of Oreja De Arena work better, but this album still sounds confused. As a result, its overall impact is diminished.