There is a lot going on in PARANOÏA, ANGELS, TRUE LOVE and yet it remains remarkably cohesive. It skilfully borrows and elevates.

While the songs feel of a piece with one another, there is subtly rich variety here, from the retro pop of Love Feel and Chain of Tears to stargazing reflection on Essence of Life and the dusky groove of Giddy Up and the title track.

If You Had Seen the Bull’s Swimming Attempts You Would Have Stayed Away provides three distinct sonic variations in its first minute alone, and does not rest on its laurels from thereon out. It encapsulates O Monolith, and elevates it.

Slocum’s lyrics give this tight 27 minutes of music a literary might beyond this band’s years.

With his new album Space Heavy, King Krule takes varying flavours from his unique sonic world and brings them together to create his most colourful work to date.

It is a record that dives deep into the listener's soul and unconscious, burying its soundscapes and frustration there, creating a rewarding progression in their sound.

It’s thrilling to hear songs gussied up in the signifiers of 'challenging music' be so completely unserious.

There are no overt leaps or shifts in the development of Parks’ sound from her Mercury Prize-winning debut Collapsed In Sunbeams, but there is something to be said of the unbridled confidence and general badassery she exudes on tracks like Weightless and Puppy. Parks also treats listeners to the undeniably beautiful Pegasus.

Understated but never dreary, on Aperture Jadagu invites us into her inner world with refreshing vulnerability – to feel as she feels, dream as she dreams, and ultimately, to hold hope at the end of it all.

While not every moment works as seamlessly as others and some track lengths can feel slightly daunting, the triumphs far outway the tribulations on this enthralling, emotional trilogy conclusion.

There is nobody quite like Christinzio, who finds room for brooding art rock (Fear Life In a Dozen Years), glorious melodramatic balladry (Going Out On a Low Note) and descents into impressionistic weirdness (It Never Rains In Manchester). His lyrics, meanwhile, imbue resounding sadness with rapier wit.

A selection of often very solid songs that waivers a touch towards its back end, but nonetheless marks another solid entry to the output of an always interesting artist.

From the ghostly mid-tempo beauty of tracks like Missus Morality and my kiss era, to lead single Nurse!, bar italia demonstrate how to be complex and seductive, without ever feeling pretentious.

A meditative body of work specked with spots of boldness, Secret Measure weaves new colours into Cloth’s musical fabric.

The Rat Road is a wondrous and playful musical sketchbook that takes the SBTRKT sonic blueprint and builds something lasting.

An Inbuilt Fault is a natural progression in Westerman's young career – a little more austere and timidly experimental. Like a similarly quiet revolutionary Amen Dunes, Westerman is carving out his own identity beyond his influences.

There are hints of the band's more dynamic past on Eucalyptus, Tropic Morning News and Grease In Your Hair. But on the whole, First Two Pages of Frankenstein is an excellent exploration into recovery from depression, passion and addiction and is one of the finest records The National have released in quite some time.

The first half of All of This Will End hits with some serious force. The lyrics are forthright and clear, , and the arrangements are stripped back to their grungiest essence. ... With the arrival of the title track, the back half slides into a (relatively) mellower mood. ... The lyrical sharpness is still there, especially on absentee father-based Always (featuring some choice yells), but there's more reverb and layers to the arrangements now.

That! Feels Good! is a revved-up hedonistic joyride that extols and celebrates the sensual necessity of pleasure. Jessie is firmly in her lane here, and it’s a satisfying drive from start to finish.

Despite a relatively concise tracklist of ten songs, at points the 45-minute runtime seems to drag on, giving the album a sense of heaviness. Not dissimilar ambient sounds wash into one another – overall perhaps a more pared-down curation could better highlight the album’s strengths.

Ben Watt’s restrained piano and taut, anxiety-laden synths hang back so Thorn can carry the weight. She’s more than up to the task – her voice now fuller, deeper, enriched by experience, and perfectly suited to narrations about seeking light in the darkness.

On A Kiss For The Whole World, you can genuinely feel the life pouring out of the record. It’s eccentric, erratic and just the sui generis of what Enter Shikari stand for.

It's a mature album that is more likely to make you lean in to hear (as with the loud/quiet dynamics on Become The Earth) than beg for your attention. But there's ample reward in giving a little time to Feist.

When it aims for the ecstatic it works well, but it doesn’t colour its muted periods with anything like the precision, the uneasy vistas it is aiming for never quite forming.

HMLTD craft a compelling pox-ridden world of their own and leave just enough room for some bewitching ballads and ethereal laments amongst the chaos.

She has made the excavation of her feelings around freedom, identity and channeled anger into a record that embraces fun and surprising musical juxtapositions.

With Drop Cherries Billie Marten has beautifully recollected a collection of intimate feelings, thoughts and sentiments, transforming them into introspective songs that are hauntingly relatable to any listener.

A dazzling record that finds the trio slightly more optimistic, slightly more resolute, but defiantly themselves.