Enter Shikari have made their mark with a hybrid theory of conflicting ideas but, unsure where they sit between Rage Against The Machine and Radiohead, it lacks real conviction.

As every track twists and turns, building upon their previous musical accomplishments, this feels like a band who have finally truly found their stride.

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.

The message of US Girls hides under an instrumental output which is far more intriguing than its lyrics--the music is a bit too good for its political musings to be wholeheartedly focused on.

It presents itself as an almost impossible follow-up, but Goodness more than holds its weight, and shows its beauty in time.

Despite the foreboding darkness within their offerings, there are still glimpses of light that shimmer within.

Definitely an album of two halves, by the time you hit ‘Ferris Wheel’ and ‘Destroyer’ the record drifts off into Dylan-isms that while are nice enough, don’t carry the same idiosyncratic weight of ‘Singing Saw’ or ‘Drunk and On A Star’ that will some day carve out a classic from this hugely promising talent.

If there’s anything to criticise Hope Downs for, it’s its risk-averse approach, and tendency to become a one-dimensional listen, but as a debut record, it presents a band that know exactly what they’re doing, and proceed to do it very well indeed.

While it may flag a bit in its latter moments though, All Nerve still has moments where the magic of this particular, iconic incarnation of The Breeders feels recaptured.

An album, according to Dev, about “black depression, black existence and the ongoing anxieties of queer / people of colour”, Negro Swan is a record that radiates these tensions; subtle and amorphous, it’s not the most immediate listen, but it’s undoubtedly one with real weight.

On the likes of ‘Enough,’ the layers of electronica and muffled beats become oddly oppressive, competing against her--and winning the battle. It’s in moments like this where Take Me Apart proves to be frustrating. When it’s at its best though, it’s an album that invites the listener to do just what its title invites.

With its high concepts and bold instrumentals the album feels a little heavy at times, but you really can’t fault its ambition.

While Freedom’s Goblin doesn’t exactly blow the doors off of his usual sound, it’s a solid addition to the canon that rattles between all corners of this self-made niche.

Unusual yet distinctive, Aviary may alienate some but you can’t fault the depth of Julia’s grand vision for her work.

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

Hopelessness is an exercise in provocation. It’s anti-apathy, determined to stir thought, even if that’s total disgust and dejection.

Black Country, New Road’s seriousness and determined intellectualism is sometimes to their detriment.

It takes no prisoners musically or lyrically. And, despite the exasperation which the album channels, the tracks never feel too dark and this is largely, in part to the warmth which hides below the rage in Mac McCaughan’s delivery, along with the guitars which remain defiantly loud.

Not one for anyone who’s not already won over by the pair’s particular charms.

Sure, FOTL's protagonist is as pissed off with 'The Industry' as ever, but throughout much of the 14-track beast that is How To Stop Your Brain In An Accident, there doesn't feel to be quite enough venom seeping through.

With more focus, this could have felt quite vital.

Part folk, part neo-classical, part metal; The Miraculous could easily be pigeonholed as a gothic record--and sure, there are definitely elements of that.

‘Drop Cherries’ may be a soothing depiction of a relationship’s simple moments, but this simplicity does leave the listener wanting more, and its poignancy often lacks any punch.

There are times, however, when the mix doesn’t quite lend Björk’s message enough power. ... For the most part, Utopia sounds like an album where she’s followed her own advice. It demonstrates how the Icelandic alt-pop legend has pushed past her own emotional turmoil, taking yet another step in her ever-evolving saga, one that sets a path for future endeavours.

While it can be an emotionally turbulent listen that continually returns to the fracturing of the self and the breaking apart from others, this is also an album that is deeply arresting and vital, a reminder that these ruptures are a part of the rocky terrain of life.

It’s an undeniably strong album, in which existing fans will find much to love. It just isn’t quite ‘Heartland’.

At an hour in length, though, and spewing at the seams with new sounds and concepts, Freetown Sound is more a vessel for Dev Hynes’ production prowess than Blood Orange’s flag in the sand.

The Liverpudlian four-piece are gifted with penning peppy indie-pop, the melodies that lift the likes of ‘Be Your Drug’ and ‘Move To San Francisco’ are spiky and infectious but ultimately stick to a well-worn formula that produces middling results.