It’s a more grounded and less airbrushed exploration of identity than we might be used to from Hannah Diamond, but one that counteracts an era increasingly obsessed with the perfect image and the false promise of forever.

A solid return, there’s a lot to recommend here – for those familiar with Slow Pulp’s influences, or otherwise. Engaging songwriting with a real punch, we’re already looking forward to catching them live.

Frequently unclassifiable, and never dull, ‘Again’ is a stop-sign on his perpetual onward journey.

A distinctive, nigh-on unique listen, ‘Isn’t It Now?’ is a fine experimental broth for Autumn listens.

Most of ‘Halo’ was sculpted on the road, a moment of pause and introspection that affords Bakar space to surge forwards creatively.

Although vibrant and adventurous, the end result is too overcrowded on ‘Silver’ – some trimming, and there’s a classic here.

Her balladry is simple, sparse, unfeigned and unpretentious, and her torch songs smoulder like burning embers.

She questions, she purges, she excavates and embraces the thorny contradictions of her life. Smith continues to shirk commercial viability, stripping away sheen and artifice, presenting herself as dimensional; flawed, bruised, exposed, at times disbelieving, but ultimately worthy of love.

‘Cousin’ is the perfect entry point for those who have inexplicably escaped the shadow of the Wilco’s influence to date. Showcasing all they do best it is also unique enough to stand as one of their finest moments.

On ‘Sorry I’m Late’, Mae Muller shows that it takes time to perfect and craft a great pop album and that’s what she has done here. Every track could be, and probably should be, a single.

A celebration of what makes Teenage Fanclub great, it’s a finely balanced LP of under-stated charms. ‘Nothing Lasts Forever’ they say – except, perhaps, for Teenage Fanclub.

All the songs are of a similar tempo, tone, and theme. There is little to distinguish them – a bit more diversity wouldn’t have gone amiss. Saying that ‘World Of Hassle’ is pretty fun and has some killer melodies.

A thoroughly worthwhile listen for ambient fans that value a narrative.

The chilled, languorous template delivers on value, but offers little else and you can’t help but feel like these are unnecessary filler tracks. At its core, ‘Scarlet’ is an interesting exploration into the world of ego trips, the trappings of fame, escapism and novelty, a welcome deviation with a heightened sense of maturity and finesse.

If you’re looking for an album to brighten your day, come enter the world of CHAI.

A genuine thrill from an artist who could rest on her nostalgia laurels, Kylie is back for her well-deserved crown.

‘Black Classical Music’ is a unique experience, a true journey, the musical autobiography of a musician central to the ongoing development of UK jazz.

‘Sorry I Haven’t Called’, brings out the best dance music has to offer because although Vagabon’s music is soft-indie-pop at its core, she has somehow captured an intrinsically heavenly sphere throughout the twelve tracks, making it the best record to keep a tiny bit of summer inside of us as the autumnal air is taking over the outside world.

A hugely impressive, frequently stunning return, ‘Black Rainbows’ ranks as one of the year’s most imposing comebacks.

Often melodically startling, the work contained therein feels close to definitive – if you’ve ever thought to explore their work, but not had the chance, this is the perfect entry point.

The National are closer than ever, the type of closeness that allows individual growth, and this organic coming together is reflected in the collection of songs on ‘Laugh Track.’ Music that will no doubt stand the test of time.

It may be a lighthearted exercise in updating old pop bangers to suit a new style, Lovato’s career-spanning retelling is also an unexpectedly touching retrospective by the time it gets to the explosive rendition of ‘Don’t Forget’ that serve as a joyful end-credits.

Reaching greater and greater heights, ‘Magic 3’ could well be Nas and Hit-Boy’s finest hour together – the closure of this chapter allows us to analysis their relationship, but you’re still left yearning for more.

A record with a message that is so authentically her that almost has no other way but to convey a bright but somewhat melancholic future.

It feels as though experimentation was at the centre of this record, with digital soundbites and electronic instruments at the forefront of many of the tunes, yet still beautifully intertwined with the traditional line up.

‘The Land Is Inhospitable And So Are We’ is Mitski at her most emotionally raw.

NLE Choppa has his sights on the prize, and he’s armed with some career-best material. Without doubt his finest project yet, ‘Cottonwood 2’ pushes NLE Choppa into the upper echelons of Stateside rap. Next stop? The world.

What ‘Perfect Saviors’ succeeds in, however, it exploding those aspects ever outwards, renewing The Armed and emboldening their most ambitious, rewarding album to date.