Coombes’ vocal, of course, gives the whole thing a nostalgic familiarity, but musically it’s an album that, for him, explores some fresh ground.

It might not leave you feeling as euphoric as what’s come before, but its lingering sensation is a testament to the power of Antonoff’s immersive songwriting.

This richly diverse record is markedly Petralli’s own.

Throughout we’re treated to bold and buoyant basslines, slick vocal harmonies and vocalist Cristal Ramirez’s crisp delivery of deliciously millennial lyrics .

Playful and sincere, mature but childlike, featherlight and occasionally heavy, this assured record sees Whack pull off a Jenga-like balancing act.

There's less space to breathe in 'This Is Not A Test!' than ever before - the beats are so relentless that just like the fiercest of the nu-prog bands it leaves you physically exhausted afterwards.

Ultimately, Aerotropolis is not just a statement of Ikonika’s personal growth and reinvigoration, but a measured statement of British electronic music’s broader lift-off.

When the album proper kicks in with ‘Totally Fine’, it’s clear that PUP are still trading in the same brutally pissed off but unassailably catchy blasts of self-loathing. And, yes, it’s still as much fun as ever.

'Kid B'? Yeah, OK - but Radiohead will never make another album like it, and as a twin, it's every bit the equal.

Like its cover, the Jean-Michel Basquiat artwork ‘Bird On Money’, it’s spiky but quite stunning. This is a cool album, the kind you begrudgingly grow to love, even if it never cared about you.

Wild Beasts sometimes seemed overly enamoured with ideology, self-aware to a fault, while Thorpe’s solo album is simpler, more direct, more self-contained – and therein lies its power.

A departure from their scrappy origins, this record is a big, grown-up collection of forward-thinking rock gems. Sure, it might not be as chaotic or feel as grimy as what’s come before, but it’s a deliberately larger-than-life affair.

This is the side of Jack White III he's happy to show the world right now, and it's absolutely fascinating to behold.

As curious a party piece that is, it rather overshadows their phenomenal way with gorgeous melodies and heart-melting harmonies.

Simple, unruly and riotously fun.

Being the K-pop chameleons they are, MONSTA X continue to refine and redefine themselves with every style and genre on each new release.

Bubba may be lacking the type of big bangers that thrive in festival sets like ‘99.9%’, but is no worse for it. Instead it’s a dizzying hour that is more interested in enthralling the already-fans that have made it into the club and to give them a helluva night. Job done.

A stunning return to form. [14 Oct 2006, p.35]

It might not be quite the experimental opus you feel Weller’s still holding back, but that feels a churlish complaint when the songs are this well-written. There’s a lightness of touch and a tenderness at ‘On Sunset”s heart.

Both cerebral and corporeal, sacred and profane, The Eternal sees this band approach the level of The Velvet Underground, where chaos and beauty ravish each other within the same song. Clever old sods.

This dream team (two thirds Britney producers Bloodshy & Avant, one third Mark Ronson collaborator Andrew Wyatt) decided to take a step back and make an album 'as a band', rather than as competing knob-twiddlers. And it's worked.

By its close, 'The Blueprint' has eloquently mapped out life's foundations: laughter, tears, joy and pain, and has marked the Jigga as the complete rapper.

Given its creator’s effortless vocals, smart lyricism and obvious ability to craft new bangers, ‘Gifted’ will only add to the clamour surrounding Koffee’s name: time will tell how far she will continue to rise from this point.

Towards ‘Blue Water Road’’s conclusion, things start to drift a little, ‘Everything’ feeling longer than its three-minute-27-second runtime and the Thundercat and Ambre-starring ‘Wondering/Wandering’ not quite landing as memorably as you’d hope. For the most part, though, this album finds Kehlani in spectacular form – softer, stronger and better than ever.

Gallipoli is almost always an intriguing listen. Soaking the sound they’ve spent over a decade cultivating in dazzling Italian sun, Beirut’s latest is a welcome summer holiday.

While previous album ‘Truth Is A Beautiful Thing’ was a sombre affair, a new energy saturates ‘Californian Soil’. Fizzing with club sounds and filled with bright lyricism, London Grammar are more confident, and more fun, than they’ve ever been.

It could do with an edit in places (its 16-song tracklist loses momentum on the likes of ‘River Song’ and ‘Little Blue’), but for the most part it’s a record of great beauty; one to cling to when you’re going through it and revel in when you too have made it to the other side.

On ‘Funk Wav Bounces Vol. 2’, the producer meshes a wistful grab-bag of influences – nu-disco, funk, boogie, soul – with his skill for creating a mega-watt pop-hit, taking listeners on a journey on a psychedelic trip you won’t want to end.