By refusing to change the song structure or tempo in any way, Deez has created an album that is stuck in a memory that grows more rose-tinted by the day.

It’s not so much a Meat Wave as it as an all-consuming fleshy tsunami. Although this breed of cut-the-brakes punk is obtrusive and in-your-face in all the right places, it offers little else in terms of versatility or gear changes.

HÆLOS are clearly intent on shunning tradition. With that in mind, this is a promising start.

TV en Français is more a more muted outing.

Fans might see this as a boon - Bainbridge picking up from where they left off before their self-imposed hiatus. To others, it may sound like a missed opportunity to establish themselves as a more cutting-edge artist.

The electronic beat of ‘METALIZM’, with its winding guitars and chanting vocals echoing their melody verbatim, comes over a little too recent-era Muse than anyone needs. But what, on the surface, is mostly a fun, noisy collection does also offer an infinite rabbit hole to dive down.

Despite the album’s beginning in confusion, Saturn sounds genuinely uplifting throughout with her impressive vocal range being the focal point.

While it perhaps won’t warrant an influx of new listeners, The Waterfall is an inviting record that will leave returning fans thankful for them not disappearing.

Homely and familiar in its sound for the most part, ‘My Mind Wanders…’ is a smooth ride of buttery emotional grandiosity and infectious London pop that sits somewhere between Paloma, Adele and Jess Glynne, with enough attitude and bravery to modernise these prevailing and reliable British tropes within soul-pop.

For all his wayfaring tendencies, it’s refreshing to hear an album from Mattson that feels as though he’s found solace in something or someone, and the richer instrumentation never compromises the album’s overall sense of intimacy.

The songs themselves are invariably linked through a series of euphoric crossovers and trippy interludes that create a strong sense of life within the music.

Replicating the 60s psych sound is something that is often tried but rarely successful, yet this Kiwi trio suit these influences that they so obviously wear on their sleeves.

While this album will neither shock nor rewrite opinion, there is no denying 'Strangeland' is solid enough.

Echolocation is a bleak affair, but it does have a number of impressive melodies and a clear sense of the liberation that music elicits in the band itself.

There's so much to like about Mirrors The Sky that could've been loved instead.

Often, it’s an insightful and engaging look into what it feels like to be of everywhere and nowhere simultaneously, without alienating anyone simply looking for a catchy pop song. It’s simply a shame that Baio didn’t alienate some of his own desires to wander through genres.

‘Hanoi 4’ is a driving, groove-led funk workout, while ‘Hanoi 5’ pits all kind of warped gurgles against a nocturnal jazz saxophone. They’re stranger, more direct beasts without the foil of Ruban’s soft vocal and often all the more ominous for it.

Just as the pair’s ability to create moods with just their guitars is impressive--it’s a bit much over twelve tracks.

Just when you're close to giving up [on A Wasteland Companion] we get to 'The First Time I Ran Away' and the album suddenly and brilliantly clicks, starts getting everything right.

It'll make you dance and sing until you sweat, and although it stutters in places and has plenty of sections that build but frustratingly never execute the finish to shatter your eardrums, it's an album that is very difficult to truly dislike.

While the celestial sound-effects sometimes make Saturn’s Pattern sound like the soundtrack to Lost In Space or a retro computer game, generally what you can clearly hear is that Weller is creating music confidently again.

Jassbusters is the album of a musician who has been around the block a bit, knows what he wants and more importantly how to get it.

With a stark lyrical dexterity and deliciously noodling guitar riffs, the album is torn between crippling sentiment and stark detachment.

Anybody yearning for reinvention or experimentation is going to be let down, but the fact that Building a Beginning remains so in thrall to Lidell’s soul heroes suggests that perhaps such drastic action wouldn’t be a good idea anyway.

This collection is his most fully-realised to date, with hooks as the glittering vehicle for tales of a blighted American Midwest.

Rkives doesn’t shed any light on Rilo Kiley, there’s no standout defining track that was flippantly consigned to a b-side or the vaults. Instead, it’s a collection which provides more satisfaction than surprise.

The events of two years ago might have left Cullen dejected, but he’s managed to spin beauty out of those bad times.

Doherty’s latest solo effort sounds very much like a solid Peter solo album; rambling studio chat snippets, mentions of Arcadia and all. You know how it goes.