So while The Haunted Man deals in less trinkets than its predecessor, it's not scant in splendour.

This is a brave, vulnerable and ambitious work that asks us to recognise and celebrate our own grey areas. It’s an album full of possibility and startling scope, and which, ultimately, finds peace among the pain.

The place where the anthemic, the noisy and the epic meet is where The Men sound most naturally positioned.

Depending on your mood, there’ll be songs you’d happily lop off for a more streamlined listen, but by and large, all of these songs make the patchwork much more vibrant.

It can be a taxing eardrum workout--its beefed-up guitar work (from Walker, Stu Mackenzie and Cook Craig) and jackhammer rhythms (drumming duo Michael Cavanagh and Eric Moore) barely let up. But it’s also loads of fun.

‘Free I.H.’ is a wild ride of cathartic outpourings, big declarations and the freedom to do whatever they want. Weighed down by the struggle but relishing their victory, it’s a record that offers conflict and comfort.

This is a crisp, focused wobble through a primarily 'Philophobia'-derived set with drummer Dave Gow and bassist Gary Miller adding crucial propulsive qualities.

It’s a rare feat for an album to paint a picture that’s broad but intimate at the same time, but Folick has done it here. Her voice, songwriting and ascent are unstoppable; one would do best not to ignore her.

As a whole it’s a bold, beautiful and uncompromising record.

Father of 4 is a fine body of work that builds a convincing case that Offset is currently best-placed to be Migos’ break-out solo star: once again, the final act of a trilogy proves to be the finest.

Where previously the comparisons to their Radiohead catalogue could warp expectations, the breadth of the material on offer here suggest that it could, eventually, flip that dynamic right on its head.

An album that’s ready to fall head over heels at a moment’s notice. It’s hard not to get caught up in his absolute lust for life.

Heralding the return of John Grant after the demise of his former band The Czars left him contemplating suicide, Queen...sees him back on top form and teaming up with labelmates Midlake.

They’ve used their major-label debut to rally the troops rather than just jeer at them from the sidelines. Every song here is a call to arms or an affirmative flip of the table.

While it captures the contrary, questing essence of Sonic Youth surer than any SY release since 'Washing Machine', it also never betrays the sluggish, arrogant lack of self-editing that made '98's 'A Thousand Leaves' so bilious and unlovable, and the band's self-released 'SYR' EPs so hit and miss.

Take a deep breath, lay back and soak in the technicolour empire Maribou State have crafted on this album--you’ll feel at one with our world for it.

As defiant as ever. [23 Apr 2005, p.51]

This mixtape is a step away from his usual sunny LA sound, but 03 Greedo knew what he was doing when he enlisted the help of Kenny Beats. This link up has resulted in an entertaining, yet simple record, the concept expertly executed.

Utopia is where art, real life and deep experimentation intersects, and it’s utterly compelling.

This record carries some of Phoenix’s most intimate and approachable songs in years.

‘LIFEFORMS’ is an ambitious punk record that speaks of the everyday. Polished but with plenty of grit and light on ego, it’s the most relatable this band has ever been.

Lighting Matches is a record that makes Bedford sound like Hollywood. Whether he gets there on this record, time will tell. But there’s enough class and promise to at least meet his ambitions halfway. He knows what he’s doing.

The Killer starts out monumentally grave, but by its close the sunlight is flooding in.

It’s a record stuffed with imagination and packed with beauty. It’s also a fitting next step for an artist who’s built her reputation as someone who refuses to keep in step with the rest of the world.

There’s not much variation between the melodies of ‘Defender’ and ‘V Formation’--and the closing title track feels like a bit of an anticlimax--but the album’s nine tracks are mostly enveloping soundscapes. There’s a distinct journey through Murmurations, and you might get lost--in a good way--in the middle.

‘Lianne La Havas’ is a far more cohesive record than any of its predecessors, focused around a primary nucleus of intimate vocals, nimble guitar-work and driving percussion.

Familiar ground, but consider this the sound of modern masters honing their craft.

Fact is, if you know enough about Joy Division, New Order and Happy Mondays to want to watch the movie, you probably own everything on this record already.