Clocking in at almost 72 minutes, Sukierae is a bloated, if lulling, listen.

At times you wish their sound was edgier, that they'd go in the direction of their zanier peers Hot Chip and BadBadNotGood. Despite that minor criticism, their unique, funky take on pop is rarely less than fascinating.

["Night and Day" and "Flutes"] are glimmers of liveliness on an otherwise decedent record.

I Used To Spend So Much Time Alone sees the Seattle group recede deeper into their comfort zone with a batch of tracks that are lukewarm at best.

The band’s approach to music-making has always been as eclectic as their references, but generally they’ve stuck to one approach per album. Unfortunately this is where Home Counties comes a bit unstuck. There’s quite a lot going on.

While a fun and energetic record, much of the songwriting falls into the somewhat forgettable. Everyone is bringing their A-game, and they're having a blast while doing so, but nothing entirely sticks to the ribs.

‘The Loneliest Time’ feels a far cry from the saccharine star that launched Jepsen’s career but proves her musical pliability.

Haines’ singular vocals have always been the band’s not-so-secret weapon, and it’s here [on ‘Enemies Of The Ocean’] where they shine greatest, jumping from hauntingly beautiful to full-on rock goddess mode. However, much of the rest of the album just goes to highlight how it’s a game of two halves. You could literally compile a list of the numbers that are over five minutes as the standouts and ones under as pedestrian.

Cerulean Salt isn’t boundary breaking, but it possesses qualities enough to leave one charmed, if not consistently captivated.

Despite the overarching quality of the album, its continual, dirge-like range of instrumentation can become a little stifling and songs risk blending into one another.

It’s an album that Beths fans will doubtless like very much, and it offers a strong mission statement to the future that this is a band hungry to expand and determined to explore the hitherto untrodden ground. It’s just a shame that, on this project alone, they’ve not delivered anything of career-defining merit.

This is cheap theatrics masquerading as inspired art.

Flawed but unbowed, it is a fascinating but frustrating listen.

It's All Real continues along the same lines: lush production, low-key bleeps and bloops, a hushed, lovelorn 2am ambience.

While every track on The Haunted Man is brimming with invention, there's little to keep you coming back for repeat listens.

An album that could be the soundtrack to the most fucked-up cowboy movie yet to be made.

Overall it's a robust, respectable detour but will leave some fans pining for the smoky chanteuse of old.

It’s a jarring listen from start to finish, but worth sifting.

Bloated at 16 tracks, it could have been a genuinely strong EP that formed a platform for Dizzee’s return to the sound he helped birth.

The undeniable influence of Krautrock in the drone, dirge and motorik beats interspersed with passages of ambiance make for a deliciously diffused, shimmering, summery psyche salad.

If Deenmamode tempers his idiosyncrasies just a little, allowing his music to breathe better, the results can be even more profound.

A band mentality may of allowed the material to work some new ground but as a solo project we’ve a dense collection all sticking to one vision. One to dip into when the storm clouds are approaching.

So long as you can tolerate the musical hopscotch that a Barry Adamson album always represents, Know Where To Run is probably as good an introduction to this peripatetic musician as you're ever likely to need. Just make sure to expect the unexpected.

THE S.L.P is safe. It’s the untainted evidence of a missed opportunity. Frankly, someone of Serge’s caliber could have plunged deeper into the void of sonic exploration. There’s always a next time.

The first half of the album is particularly monotonous, with the one-man band fervently spewing similar hooks that show very little dynamism and only serve a purpose to maintain a foot tapping rhythm.

On occasion, the record feels quite lazy in its lyrical direction and yet too direct, falling into moments of cringe rather than what could have been perceived as powerful and fun.

At times the lyrical component can leave you cold.

The album’s lacking that one standout moment to make it a truly transformative experience. Still, the scope and ambition are to be applauded, and it’s a treat to take a voyage around his mind and beyond.