Packing so much in comes at the risk of a more diluted sound and an album which lacks a strong sense of cohesive unity. This is most apparent in the first two ‘planets’, where the result is a little muddled. When not biting off more than they can chew by integrating three entirely different featured artists within a five track part (see ‘Off Planet Part 1’), the album is a fresh and interesting take on experimental electronica.

‘The Good Witch’ is a dazzling little record that is as entertaining to listen to as it sounds like it was for Peters to make.

On ‘Sunburn’, the American songwriter sounds the most comfortable he ever has, and as a result this sophomore record carves out his own space in the music world.

It duly delivers, comprising a first-rate electro set rich with the imagination of songwriter Katie Stelmani.

Carefully structured, ‘MAN MADE’ is able to caress the spartan sonics of ‘Away We Go’, for example, before plunging into the revelatory rock guitar of ‘Sinner’. In bringing such diversity together, the central creator is able to span opposites, and build bridges that perfectly amplify her touching lyricism.

Consistent ruggedness, the sort that brings wicked grins of appreciation, shows a toughening up for new employers.

At times Wolves' polished, pop-tinged punk sounds more like a proffered Pepsi can than a clenched Molotov cocktail, but it is still punk to its bones in a time when the label tends to be skin-deep.

Tribal chanting and desert parties meet drum machines and electrifying guitar riffs in an album that is consistently inventive, mesmerising and incredibly danceable.

Sadly much of the rest of Music Complete is by-the-numbers New Order, and revisionary as opposed to revolutionary.

A strange, lovely and at times genuinely unnerving album that feels like a deep-dive into the subconscious of these hauntology pioneers.

If that's not your bag, then this won't convert you, but if intrigue you have; then check it out.

Catchy riffs and partying aside, this new FIDLAR record actually gets pretty deep.

As You As You Were already feels like a festival anthem in waiting. Stunningly good music.

The good tracks on 'Body Talk' are of such a high quality that it definitely makes it worthwhile to check this album out but you are soon left with a feeling that the subsequent releases in this series will cobble together one amazing album and one really bad one.

All in all, its a beautiful sign of the times - psychedelic and indie focused in melody, with poignant and important lyrics giving a pulse to an otherwise-relaxed-sounding project.

A dazzlingly creative effort, it might well be SHOPPING’s most complete, concise, and fascinating release yet.

This whole album pulses with the emotivity of a cybernetic rainforest.

Since that reboot 12 years ago, they don’t really know what they want to be. So they try all things, and only succeed at some.

There are some surprising hooks amongst predominantly ugly arrangements, and its ambition is admirable, but Plowing… proves woefully lacking in coherency, and fails as its makers’ next evolution.

Not so much Teenage Fanclub as 'Loveless'-era MBV meets classic Cure at their poppiest.

Fresh Air is confidently obtuse in that it expertly harnesses the power in Sagar’s slightly off-kilter and out-of-tune instrumentation.

The lush arrangements highlight his sophistication as a songwriter--‘Impossible’ comes on like ABBA gone synthwave--if sometimes verging towards the saccharine with repeated exposure. Yet this latest collection finds C Duncan in rude health.

Frequently unclassifiable, and never dull, ‘Again’ is a stop-sign on his perpetual onward journey.

Older, wiser, still rocking: Mould’s sounding as electric as ever.

Content Nausea sees the band’s Andrew Savage and Austin Brown bashing out a short, pithy not-quite-an-LP while their fellow bandmates variously become parents and math graduates.

'PREY//IV' is not simply music to listen to: it’s an attempt to communicate genuine pain in ways that simply aren’t possible through a written statement posted online. Little surprise, then, that the lyrics go for the jugular on occasion (“You taste like rotten meat”; “Are you picturing my insides outside of me?”). However, they’re at their most effective when their visceral imagery gives way to narratives of coercion and control, as it does on 'FAIR GAME'

After sinking your claws into this offering from PAWS one thing will become certain, their ramshackle approach to delivering scuzzy punk rock drenched in delicious distortion is enough to make anyone short of breath.

Keys fails to emulate these peers and instead only succeeds in certain apt production choices and the partial development of her earlier sound. She becomes yet another voice unable to deliver its message.

Impulsive, instinctive and infectious, the eccentric and emotional Ørsted walks an enchanting tightrope.

Singers aside, we have those subtle harmonies drenching every song, sparkles of synth, strings and flute, and those sunrise drums lifting everything. It’s utterly gorgeous and the best bits of Midlake still shine through.

Myriad magical traditions and exemplary musicianship are boiled up in a big vat, like a transcendental potion.

A gorgeous, triumphant return.

Although a rather formidable theme, NNAMDÏ delivers his most succinct and capital P pop album yet.

My Morning Jacket should be celebrated as a band that tirelessly deliver value for money--there's enough in here to keep you listening for months on end, and loving every minute of it.

Pony isn’t perfect, but more importantly it is never boring. Even in the slight missteps, there is something to be admired. ... It is easily one of the most interesting and exciting pop records of the year.

He's [Comet Gain's David Feck] in untouchable form here.

It's charming in every way, but still rooted in the pop folk that brought Beth to us in the first place.

It’s an evocative rush of a listen - if Watson insists on making yet more music outside of his day job, we’re glad it’s as fun as this.

A brilliant debut that positions her as one of the brightest young songwriters operating in this age of internet bred pop stars.

Towards the end of the album, tracks threaten to meld into each other, making for one big visceral haze of love-lamenting. But beat seekers should find their bag on dynamic tracks like ‘Florida!!!’, a thumping, bewitching collaboration with Florence + The Machine, ‘Who’s Afraid of Little Old Me?,’ and triumphantly-erupting, more optimistic ‘I Can Do It With A Broken Heart.’

Fortunately, these successes do not overwhelm 1000 Forms Of Fear, with tracks such as ‘Big Girls Cry’ and ‘Fire Meet Gasoline’ more than matching the output of her past clients in terms of captivating, powerful pop.

For Smith, though, she doesn’t need loud dynamics in order to submerge the listener; and for much of her latest record the command of her machines is such that the mind is easily able to wander, and forget that they’re there at all.

The lyrical framework in which he operates is fairly supple and improvisatory, though there are some surprisingly tender lines here and there. Structures and voicings are stripped back but viscid synths and odd, glitchy effects whir in the background.

A pleasant, occasionally saccharine listen.

The band’s expertly realized fusion of organic and electronic instruments remains, bolstered by their extensive tour diary that’s also seen them open for Underworld.

His lyrics are blunt yet honest, taking personal demons and harnessing them to stadium-ready anthems like ‘Anxiety’ and ‘Angel Wings’, all the while avoiding self-parody.

Thunder Follows the Light is an album that if you take on face value is full of delicate vocals and dreamy melodies, but if you start to dig a bit below its ethereal surface you find something that is incredibly rewarding on repeat listens. This is when the album starts to come into its own and slowly starts to take over your life.

The best moments remain the songs where the band moves as a unit, conjuring a sense of hope and elation, rather than falling back on tired, shouty punk cliches.

‘Who Made The Sunshine?’ feels like a fresh slate for the Buffalo artist. Drawing on the weight of his experience to carve out fresh opportunity, it’s a record that – only at moments, mind you – contains some of his best work.

The hype for his newest album, 'The Off-Season', reached astronomical heights. Fortunately for fans, they did not have to wait long, and the North Carolina rapper did not disappoint.

‘COMING HOME’ competently portrays love as part Afrodisiac, part pulse-racing chase, part languorous and lived-in sensation. ‘COMING HOME’ is also tangential to the live spectacle, and that’s okay.

Unfortunately, the resultant package is very cleverly constructed and yet maddeningly dull.

Phoenix has been four years in the making, waiting in the wings to see the light. And now that it’s finally here, Phoenix is definitely worth checking out.

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.

We’d be looking at an even better record had it allowed the space required for her often unrecognised jaw-on-the-floor vocals, but as a whole Melanie C has drawn from a whirlwind year to make a jubilant album that understands where she is right now.

‘Slugs of Love’ manages to evade repetition and monotony despite their stripped-back demeanour – resulting in a record residing in sensual sophistication and ease.

There's nothing here to write home about but it should make a nice stocking filler for Mum.

The lyricism is what makes the album escalate from good to great.

Guaranteed to make you cry sugar-coated tears or vomit Care Bears depending on your tastes.

Cinematic in its scope, the album runs like a screenplay with character developments, recurring themes, tragedy and, finally, resolve.

A more than worthy gesture from a distinctive, engrossing voice.

It would be hard to find an album to compete with theirs in regards of modernism or creativeness.

The whole album somewhat lacks the same energy, punch and pure magic that The Black Keys have.

Swift’s vocals are triumphant, soaring, wild throughout--she is a fantastic singer, and 1989 does showcase her ability to attack a track of any style and claim it as her own, even if the ultimate results feel like a compromise had to be found to make the final cut.

Carrier isn't necessarily a victory for versatility or enigma variations, more the sound of Sully helping himself to bass culture's wide open buffet.

Overall this is an album to be enjoyed in its entirety and proves a much more rewarding when doing so. Grab a comfy chair, wait for dusk and lose yourself. You won't regret it.

The album has immense scale, wonderfully indulgent soundscapes and limitless sing-alongs.

The end result is a rewardingly eclectic mix, if not slightly discombobulating.

A succinct, focussed return, ‘Phantom Birds’ makes a neat soundtrack to the final days of the English summer.

On ‘Songbook’ The Lazy Eyes are showing off, offering the full kaleidoscope of their insane talent. It’s an invitation into a dreamy utopia of their own invention - and you’ll want to stay.

Delivering what her fans would expect, it seems as though Flo Milli has found her feet and handed over a selection of fun-filled and ultrafeminine tracks before the summer comes to an end.

An incredibly engaging and somewhat out-of-body listening experience.

Era Extrana is a collection of brooding, eddying and actually kinda loud indietronica that wears its Joy Division and New Order influences on its (mixing) sleeve and contains enough catchy melody lines to flirt with pop... and take it all the way to second base.

Starting with offbeat rhythms and minor key vocals the album is not as accessible as "Has A Good Home" and less adventurous than "He Poos Clouds"--yet there’s something that draws you into Heartland.

There’s plenty to commend it, but with such high expectations, it’s perhaps inevitable that this album could never live up to them.

Whilst your first few visits to the ‘Tranquility Base Hotel + Casino’ may feel alien and unwelcoming, you will gravitate ever closer to its shimmering outer-space treasures with each stay.

Bunny in its entirety is quintessentially disparate, a fleeting repertoire of the avant, and a keeper of both the nostalgic and the progressive. Matthew Dear is unlike the rest, as he invites us into his cathedral of sounds, and will undoubtedly ‘stick around in the house of your mind’.

As a double album, ‘V’ is a hefty commitment and is therefore unlikely to win many new fans for Unknown Mortal Orchestra, but it’s a coherent and mature piece of work which will be worth the wait for this well-established act.

Though moments fall into realms of safety, churning out easy radio-hits, we’re hoping she continues on this venture into more diverse sounds - as those more exciting, genre-fusing tracks are pretty fabulous.

There is a ‘fine line’ between plain pop music and good pop music that’s interesting to listen to. On this album, Harry Styles definitely falls into the latter category.

With its themes giving the listener the desire to actually pay attention to what being said, rather than just zoning out to the album’s ear-worming melodies, Insecure Men is no doubt one of 2018’s best debuts.

Everett has fought his well-documented trails and tribulations tooth and nail, and this gritty but ultimately joyous album stands as testament to that.

It can arrest large scale arenas, and Matrixxman's Swiss Army Knife game is indisputable, though it's often used as a plot twist that's not necessarily relatable to the original story.

The Union is a mutual display of affection from both sides - Elton and Bernie's nostalgic tales are infused with gospel, rollicking country and rock 'n' roll, while Leon's croaky voice adds southern authenticity.

It’s great when I’m listening to it, but nothing really jumps out and lodges itself in my brain - perhaps harshly, it all feels like a puddle of slightly warm water where an ice cube used to be.

Darling Arithmetic finds O'Brien continuing to fashion his sound in this cherished manner, the tales he spawns both introspective and impressive.

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.

González hasn’t changed much since his 2003 debut ‘Veneer’ but his fans won’t be disappointed by his new project and will surely be glad to have new songs after waiting six years.

Snõõper have succeeded in creating an album that celebrates the joy of live music, while not sacrificing any of their energy, originality or fun in the process.

Adele is sincere, poignant and affecting throughout; the emotive 'Someone Like You' closes the album magnificently.

A dazzling mix of shoegaze, lo-fi psychedelia and fuzzy, mid-period Sonic Youth.

A curious state of affairs on the surface, this is no empty exercise in muso accomplishment. Lidell’s voice is a thing of wonder, a match for or indeed bettering many of R‘n’B’s mainstream performers.

While the playing is never less than exceptional – displaying Mark Knopfler’s assured rhythmic sensibility, and his lyrical lead styles – the arrangements on ‘One Deep River’ can sometimes falter.

Thanks to Black Milk’s production this is their most accomplished album since 1995's ‘Temple Of Boom’.

Clark's biggest triumph is in managing to splice his previous influences together in a cohesive and pleasing manner.

It’s a dense work that’ll be discovered thriving equally happily in the niche of teenage bedrooms as in underground cults and a nebulous haze of mushrooming Mixcloud communiqués extending over the horizon.

With a sound centred around a tunable percussion instrument called a hang (think mellow steel drum), skittering jazz drums, saxophone and loops, the quartet, who live Monkees-like in a shared house in East London, serve up a fresh vision of jazz, drawing sounds from across the globe.

Everything here is gorgeously sung and this woozy, gently uplifting collection of songs is pretty close to perfect.