‘The Love Invention’ runs the gamut of immediate, dancefloor-ready electro-pop with style.

‘i’ve seen a way’ sees the band marching down their own path, and it’s one worth following.

The result is a fun collection of melodically versatile songs which celebrate the power that can be found in dwelling on the fringes.

‘Aperture’ stays true to its title, Hannah adjusting her lens with ease and darting nimbly between styles. The album bridges the gap between adolescence and adulthood; Hannah Jadagu jumps high between the two and lands firmly on her feet.

Arlo emerges with a newfound directness, finding a sound and voice that fully represents the multifaceted complexities of the world outside the bedroom.

There is a genuine timelessness to the thirteen tracks of ‘Everything Harmony.

Westerman may be less accessible than either artist, but his latest is just as notable in its ambition. ‘An Inbuilt Fault’ is an acquired taste, but well worth the effort.

There’s a warm domesticity to many of these tracks that’s smaller and softer than the apocalyptic balladry that first made his name; these are vignettes plucked from a Richard Curtis movie - romantic and relatable, with all the humorous foibles left in.

A little change of pace and a tad more sonic variety admittedly wouldn’t have gone amiss, but nevertheless, ‘…Frankenstein’ is a solid addition to The National’s canon.

Confidence and swagger flows through the album as a whole, with every twist and turn adding another colour to its extraordinary palette. The sound of an artist hitting their stride and then some, ‘That! Feels Good’ really does live up to its name.

The first five tracks all clock in at under 2-and-a-half minutes and are almost all punchy, ferocious and crunchy. It’s bold and uncompromising, but often buries the singer-songwriter’s voice both literally and metaphorically in an overbearing soundscape. ... The record’s second half sees Indigo let loose, switching up her formula: songs are longer, more expansive, and it’s all the better for it.

Ben Gregory has made a record quite mind-boggling in its scope and scale. Written following a stint in a psychiatric hospital, the explosion of ideas present across these eight tracks tally with an overactive brain trying to put itself back together - in the space of the seven-minute ‘deathbed hangover’ alone, moments of beauty and brutality jostle for space.

Perhaps a less confident artist would be tempted to finish on a grand crescendo, but Angel Olsen has made a masterful record that both requires and earns a little patience.

A poignant, thought-provoking record on so many levels.

Throughout the record, Fenne provides a poignant glimpse into the uncertainty surrounding your whole life changing in front of you.

This stylistic clusterfuck is likely to satisfy those who gobbled up Crack Cloud’s similarly ambitious shift to expansive instrumentation. And if you’re just downright confused by the whole preposterous thing, that’s probably just fine too.

While some of the stylistic variation here can feel disjointed at times, there’s plenty on offer to suggest a band on the rise, capable of rising even higher.

In its refusal to sound anything like its alt-pop predecessors, ‘With A Hammer’ is a breath of fresh air: innovative yet familiar, lackadaisically cool yet brave, a brilliant and sparkling window into the future. Its idiosyncrasies, consistently and wonderfully oxymoronic, are its greatest strength.

This is all very Daughter (and very good).

It’s clear all three are being pushed beyond their usual creative comfort zones.

Cure-y closer ‘24 Hours’ underlines the fact that Heartworms are one to keep a trained eye on, its rumbling outro an omen not for an oncoming rapture so much as the arrival of a Seriously Fucking Cool new artist with vision and formidable talent to her name.

For a project that could have held unreasonable expectations, it overdelivers time and time again. Both parts of the duo are on their A-game in equal parts.

‘Good Luck’ is undoubtedly at its best when Debby is going full-pelt to evoke those early-noughties electroclash moods, but there’s barely a misplaced beat throughout.

An album that exudes charm and euphoria, while still very much being Fall Out Boy’s DNA, ‘So Much (For) Stardust’ is a real joy.

As a listen, it doesn’t always completely land, but when it does it’s truly exciting. As an artist, ‘Did You Know That There’s A Tunnel Under Ocean Blvd’ shows Lana Del Rey pushing herself perhaps more than ever.

On ‘A Fistful of Peaches’ Black Honey have doubled down on what’s worked for them to date, while offering a glimpse at potential future directions.

Yves has carved out their own, trailblazing sound amid the racket of modernity and it truly feels like an awakening. Trapped somewhere between visceral punk, Oneohtrix Point Never and Dean Blunt, ‘Praise A Lord…’ is in fact like no other.

While ‘V’ has the tendency to revisit some familiar ground, it achieves what the best double albums do - plants solid gems along the road, envelops the listener with clever sequencing tricks and builds a whole world to roam.