The witching hour is here, and ‘Miss Power’ is mesmerising.

A truly seminal record, ‘Ultra Truth’ is a radiant voyage for Daniel Avery, and for everyone who dares join him for the experience.

Their most ambitious work to date, ‘Myself In The Way’ sees them enter a new world of expansive sound.

A record of warm and soaring pop-rock that still manages to both delight and intrigue, ‘Palomino’ is the sound of a duo still roaming new territory, but feeling more confident than ever.

‘MK 3.5’ is an often unwieldy and curiously warming project that sees both contributors embrace discomfort in their art.

‘Alpha Zulu’ is a fun record, on which the creators’ own enjoyment is audibly palpable.

It’s the most eclectic punk record to emerge in ages, and even though it incorporates elements that might seem incongruous in a style that thrives off its simplicity, they’re carried off with enough class for it to sound intriguing rather than jarring. In fact, there’s a refreshing elegance about the whole thing.

There’s nothing particularly new here from Fred bar minor switches into previously unexplored electronic styles, but it still boasts some of his best tracks yet.

Listening to ‘Cave World’ is akin to dipping your whole body in murky, warm sea water - you feel blinded and a little bit disgusted, but overall excited to explore your new surroundings.

There’s a pop sensibility never far from Maya and her collaborators (co-produced by Okkervil River’s Benjamin Lazar Davis, with credits too for bandmate Will Graefe, and fellow folky soul Christian Lee Hutson) that gives the record a well-masked determined nature, simultaneously familiar and exciting.

Embracing her musical kindred spirits, ‘Makes Me Sick…’ isn’t just a rehash of her idols, it’s a natural successor.

Cynicism at the door, ‘Doggerel’ is an enjoyable – and exciting – listen.

Not an easy listen - as one might expect - but definitely a rich, rewarding one.

Ultimately, ‘Nymph’ is a climax – a culmination of years of experimental foreplay – that puts Shygirl on the map as one of the UK’s freshest voices. It honours the altar at which Shygirl was born, but gently trickles into an adjacent brook, to where we might see her next.

On ‘hugo’, Loyle Carner proves his willingness to take risks and it pays off. While it feels like we’re still waiting on a total knockout from him, his lyrical progress and appetite for new sonic territories on ‘hugo’ suggests he’s verging ever closer.

Granted, at some points it does feel a little unrelenting, but the sheer ferocity of this record illustrates a band intently focused on the future, and breaking through to the next level.

The soundscapes on ‘The Loneliest Time’ may not be as grandiose, or as sugar-coated as we’re used to from her, but that doesn’t mean the feelings aren’t still a lot. ‘The Loneliest Time’ is definitely Carly’s most introspective album.

Jack Antonoff’s fingerprints are easy to spot. The producer layers Taylor’s intimate stories with electronic drums that push certain moments to understated crescendos.

At times, their ambition really clicks into place (the euphoric bounce of ‘Smoking Weed Alone’, for example), but at others, it feels a bit muddled. Their ambition is undoubtedly to be applauded, but this one’s a bit of a mixed bag.

A vulnerable, accomplished but, most importantly, empowering debut.

It’s unlikely to win over the naysayers, but, for those already enamoured with their kitchen sink Dadaism, ‘Stumpwork’ is yet more magic from Dry Cleaning.

‘Angels & Queens – Part I’ is nothing if not an intense listen.

It’s the kind of stylistic pick’n’mix Mykki has made their name on: ‘Ketamine’ with Slug Christ nods to the latest iteration of pop-punk; ‘Your Love Was A Gift’ shows a fragility to Dianna Gordon’s vocals amid ghostly production; ‘Trust A Little Bit’ shimmers with a tender nature. And best of all, it works as a whole.

‘The Car’ is Alex and crew’s most soundtrack-like work so far, flowing together in one long movement made cohesive by Bridget Samuels’ lush orchestral arrangements which adorn it.

With this near-mystical storytelling ‘Quiet The Room’ leans heavily on folk, yet in style it embodies something entirely different. Seemingly on the edge of collapse, it tells a fraught tale of fragile memories that exist on the very brink of reality.

‘Here Is Everything’ lands in the sweet spot; it’s creatively ambitious, pushing the quartet into new ground, but it does so with a renewed sense of fun.

‘Dirt Femme’ sees her juxtapose elements ingeniously. If she’s singing in a straightforward manner, on a more direct number, then the music is twisting and turning in offbeat ways.

‘CHAOS NOW*’ might not have much of ‘80s Mancunian misery in its toolbox, but there’s an exhilarating meeting of grunge, pop-punk and indie with hip hop rhythms: Beck if he’d used a palette of early ‘00s MTV2.