The closing run of tracks on the album are some of the most musically interesting she has released to date.

Theatrical and majestic, ANOHNI’s supple world-building acts as a mirror to her soul – ‘My Back Was A Bridge For You To Cross’ may well be her masterpiece.

A bold, impressive debut offering, it finds the songwriter’s perfectionist streak paying off.

While one of her least immediate records, it stands as one of her most rewarding.

‘Snake Sideways’ is a culmination of all of Do Nothing’s talents, and a great debut album which is perfect for the live setting – where the band thrives.

Overall, this is peak John Carroll Kirby and, dare I say, his strongest album to date. It hits all the points you want, and then some.

‘The Good Witch’ is a dazzling little record that is as entertaining to listen to as it sounds like it was for Peters to make.

A thrilling return, ‘I Don’t Know’ finds bdrmm breaking down the walls around them to claim a space of pure freedom.

Hopefully we won’t have long to wait for the next instalment but before that let’s just bask in the beauty of this beautiful album.

‘All Her Plans’ is a triumph, a record that will certainly send these Aussie rockers to soaring new heights.

While it might not be as cohesive as some of his previous work, ‘Is It?’ is a beautiful reconciliation, revelling in making something from a place of struggle.

Locating solace in his craft, Gunna pushes himself to the limit on an album that somehow finds focus amid the chaos

‘Further Out Than The Edge’ is a creatively rich and inspiring debut from Speakers Corner Quartet, an emblem of their sixteen years spent together as a community of musicians.

In the end, ‘Work Of Art’ is fun and eye-catching, but you’re left thinking that more depth will surely come as Asake evolves into his place in the top tier of international music.

Sigur Ros’ world-building abilities haven’t been dulled by a decade of group inactivity – each moment is laden with colour, and mood.

With ‘In Times New Roman…’ Homme and co. have crafted a darkly seductive return, an intoxicating psychedelic record that drips with equal parts malice and renewal. It’s good to have them back.

A record composed of experimental dissonance and slick pop bravery, ‘PARANOÏA, ANGELS, TRUE LOVE’ ranks as the boldest aspect of his career to date. A project that searches for honesty, it places Christine and the Queens in a quite singular lane of alt-pop abstraction.

‘Social Lubrication’ carries all the raw, essential components of what make Dream Wife such a well celebrated act while remaining remarkably self-assured and polished, even if the trio don’t greatly expand on their recognised formula.

The oft-explored worldwide sensualist feels newly alive here, ‘Fountain Baby’ a prime exemplar of mind-expanding afro-pop alchemy that revivifies the weary spirit.

‘Joy’All’ finds Jenny Lewis chasing her instincts, working with light and energy. On the closer, she warns “if it ain’t right it’s wrong…” – on ‘Joy’All’ everything feel’s right.

No less inviting than their debut, while asserting its own identity at every corner, ‘O Monolith’ is a fine second album.

Overall, this is undoubtedly Niall Horan’s finest and most mature album to date – and was certainly worth the wait.

The album marks itself as one of the most special and singular of the year and beyond. With a cohesive tone of lysergic, hypnagogic soupiness, yet plenty of variety, the genre traversal is almost seamless. The only major struggle from ‘partygatorpurgatory’ is the impatience induced in waiting for more.

Never afraid to show both sides of the coin, this LP is powerful as he spits about hardships, politics, love and more; constantly referring to the title, he proves that not only is real rap back in style but so is realness.

He also writes with a newfound lens, new experience, with his fascination of the space between cities coming through in technicolour on this record. The also never-ending sonic exploration is continually excellent, ‘Space Heavy’ being just as eclectic as it is cohesive.

The result is a solid summer rock album to play from your portable speaker on a day at the beach that sees the promising young band evolve and develop an already appealing sound.

‘Bunny’ is an album that rewards listening with a sense of naivety. Basking in its summery sheen is more than enough to draw pleasure from. But if you allow yourself the time to uncover all of its layers of depth, that glow only becomes brighter.

Once again I am moved with the delicate care Gia Margaret approaches her art with, something of a prayer and an anthem to the sovereignty of unraveling, longing and finding.