As great as these tracks are though, it's difficult to shake the feeling that they just aren't really Daft Punk.

In Colour is ultimately too tidy and, Young Thug features aside, afraid to take risks, and is therefore all the more beige for it.

It’s underwhelming. This is not to say it doesn’t have beautiful moments, it is not to detract from Sisay’s exquisite voice; but overall this feels like one in a long line of emotive “indietronica” records that slots into one of those “chill and alt R&B” Spotify playlists. It’s fine, but it’s kind of forgettable.

Benji would have worked better as a series of EPs, playing to Kozelek's strength as a songwriter of certain stylistic preferences.

Pure Comedy (or, I would say, Tillman in general) doesn’t suffer for its big ideas, it thrives on them; the real problem is the constant circling and underlining and pointing out those big ideas when just letting them sit and mystify in their black hole weightiness would do.

The title track and the genuinely brilliant ‘MetaGoth’ Stripped to the bone and not so much sung as intoned by Josephine Wiggs, this is one of the creepiest yet compelling compositions The Breeders have ever put their name to. From there on in, the album goes through a variety of fits and starts before descending into anticlimax.

The narrative and sonic stylings of these songs have the aesthetic qualities of intimate music, but Snaith’s anonymous intonations, sometimes bathed in layers of muddy distortion, hold the listener at a frustrating distance. Like the album’s artwork it advertises transparency, but delivers only more obscurity.

Voivod have a hardcore following and for most, this much anticipated album will be received with adoration. For the rest of us, it's to be hoped that with relatively new bandmate in Mongrain, this is a transient moment before they head off to fight new battles.

Harmonicraft often strays into pastiche when they attempt to cling on to their past, but comes into its own when it strides confidently into new realms.

Grinderman 2 RMX provides an enjoyable enough distraction but ultimately this is a collection of material that would have worked better as an EP rather than an album.

As Compton progresses, it rarely seems to shift out of second gear, evidently favouring laid back grooves and sparse production over aggressive break beats and G-Funk swagger. All the while an almost listless lyrical style on occasion provides a narrative, or lack thereof.... Cynicism aside, there are moments of brilliance here.

As part of Berlin's Janus Collective, M.E.S.H.'s work is very much on the hardest edges of club culture to such an extent that it becomes hard to discern any humanity at work here.

Blake may have dispensed with some of the more experimental and emotionally obtuse trappings of his debut album on Overgrown in an attempt to engage more directly with a wider audience, but his intentions are all but drowned out by a thick glass porthole being hammered on feverishly by a dozen drowning onlookers.

The lack of immediacy isn't Vile's biggest problem here: it might seem trivial, but Wakin On A Pretty Daze is his first release that doesn't improve upon his last.

For the most part Hiss Spun comprises what can be succinctly described as downtempo dirges with a handful of diversions. ... Whether this reliance on slow burners is a good thing will largely depend on your appetite for diversity. Arguably the weakest aspect of Hiss Spun is the hit-and-miss nature of its ability to land blows to your gut--a goal which tends to be fundamental to music of this stripe.

Despite its best intentions, Straight Songs Of Sorrow is an album that would’ve worked considerably better as a well-pruned EP. As it stands, there’s too much intent and not enough delivery to maintain attention throughout its sprawling running time.

The only thing Settle succeeds at is repurposing generic late 90s funky house into a sound that people seem to have been brainwashed into thinking is new and exciting.

Tyler's latest album remains ambiguous and uncertain, however.

Gainsborough seems to be testing not only what his crude instrumentation can withstand, but also his listeners. For all the physical exertion though, the album sounds surprisingly sexless and apathetic at times.

Most of the album sounds like a kaleidoscope of every “indie” rock archetype, to the point that, whilst it's never debatable that Monomania is a Deerhunter record, you still find yourself thinking of Silversun Pickups, The Black Keys, The Flaming Lips or Arcade Fire, not necessarily with positive comparisons in mind.

It's more that Kveikur feels more like an unfinished trip (through said glaciers, perhaps), where the destination is in sight, but seen only from the halfway point.

On Drunk, Thundercat aggressively grafts said humour onto his spacy throwback fusion r&b, and the results are mixed.

Senni presents not so much a cohesive album here, but rather a series of studies on a form, like Domenico Scarlatti’s sonatas. But not like Scarlatti’s sonatas. More like Marc-André Hamelin’s revisionist Omaggios to Scarlatti. Senni produces music with alternating measures of respect and irreverence. But the results lack emotion. Scacco Matto’s production values are modern and bright. But they don’t move me to move.

Overall i,i sounds expensive and yet – simultaneously – all too safe.

A crescendo of electronic drums and stirring strings draws Distant Satellites to a close, and leaves you with the impression that, while inconsistent and desperately overwrought on occasion, Anathema deserve to be heard out with the private members' club that is prog rock in 2014.

The issue for both Femi and Made’s records, is that they feel too conscious of both their modern international audience, and their own political weight. It feels like there is too much scaffolding and careful consideration around the tracks, and as a result, the spontaneity and freeform funkiness of afrobeat gets diluted.

It's a record that doesn't undermine their body of work, but nor does it stand out as a career-defining highlight.

There's a huge lack of definition, and even with the volume cranked high, the dynamic surge previous albums from the group have led us to expect is absent.