Over quiet vocals, nifty guitar pickings, and an open diary of personal confessions, Lily sets out 40 minutes of warm, stripped-back introspection. The tempo barely lifts above a sway, but if you lean into the motions, the familiarity comforts more than it wanes.

With Multitudes Feist has entered a new era in her artistry, one in which she makes space for reverie. Her grand realizations are beautifully stated.

The ten deft and devastating songs soundtracking this latest instalment flash by in a blur. It’s around the third play that things start falling into place.

Taking place in a world that requires you to understand the minutiae and dichotomy of love – where heroes and villains coexist – without this prerequisite knowledge, by the end of the flickering film, it may feel like a one-trick pony. However, if you've felt the cold light of day on you after your own divine tussle with Cupid, then this album will gently offer aid.

At 25, Hartzman’s old enough to romanticize her youth but world-weary enough not to try recapturing it. The space between the two – reckless childhood and cynical maturity – is where Wednesday resides, but they manage to find beauty in it all.

Their second full-length may be short, but it expertly treads the line between fantasy and realism, between pretension and honesty, and wraps it all up before you’ve had time to raise an eyebrow.

Higher Than Heaven is pure candy floss in the best way – little substance, but the sugar rush is so immaculate it ends up not mattering.

The artist’s love for effortless aesthetics may have ironically been brought into a confident big room setting on With A Hammer, but successfully merging thoughtful pop, trip hop, house and everything but the kitchen sink is surely anything but effortless.

It is the sound of an artist finally getting to let loose and say the things that have stayed locked up inside for too long. In turn, Teitelbaum offers an exciting introduction to a talented songwriter and a thoroughly rewarding debut.

It will be undoubtedly considered a ‘return to form’ for fans who might have felt a little aggrieved about Altın Gün’s turn towards a softer direction on their last two records, but for new listeners, this is a superb place to jump on the bandwagon and a perfect introduction to a world of music that they might not have experienced otherwise.

Pure baroque 'n' roll goodness.

An album promising to be, with a sly wink, True Entertainment, turns out to be all that and way, way more.

The musical tailoring is both electric and refreshingly liberating, with rich textures and stark contrasts. Always perfectly balanced, with a minutely tuned on and off switch that also leaves room for silence.

This is a noisy articulation of pain to be felt once but barely experienced after. It exists to shock with the intention of empathy; unfortunately, empathy takes time and is hardly elicited when all things warped and wicked are at the forefront.

Red Moon in Venus marks a consolidation of Kali Uchis's talents, a work that manages to experiment whilst distilling her artistic essence, and flexing just quite how good she is at it.

With A Comforting Notion, Orme moves between dejection and expostulations of lyrical and musical outrage, one moment wallowing in nihilism, the next celebrating the mysteries of birth, sex, death, and creativity. She has clearly absorbed many of popular music’s important templates, asserting a multifaceted voice that captures life’s highs, lows, and in-betweens.

Even when 6LACK is on cruise control, the emotional hour drives by, hiding thoughtful romanticisms and nuanced musical flashes that are a delight to discover.

Scaring often feels more like a mixtape showcasing Peggy's inimitable skills as a producer, but its the addition of Brown's frenetic flow that elevates the patchwork quilt. It's his spiky wit and tonation which delivers a cargo-load of personality needed to spark the frenzy.

Their debut album – aptly titled the record – is here in all its poetic, cutting glory; and it’s been entirely worth the wait.

The ten songs that emerged from that process are a compassionate exploration of selfhood that rewards patience and resists easy answers.

So Much (For) Stardust’s main takeaway is the palpable, radiating carefree joy.

Nickel Creek’s great storytelling and vivid imagery, in most cases, never fails to enrich these anecdotes and reminiscences.

Depeche Mode are still at the top of their game and ready to explore their vulnerabilities in new and intense ways. Memento Mori is not a one-listen album; take a few rounds to wrap your head around all the little details and let your favourite song change with every listen.

he record staggers on into “Fishtail,” a dull trap ballad, and hits a dead-end with “Peppers,” an excursion into rap which is an absolute mess; so incoherent that it's excruciating. Moments like these are baffling because, without them, Did You Know… would compete among Lana’s very best. In fact, in certain gorgeous moments – like during the strange haziness of “Fingertips” or the ecstatic climax of “The Grants” – this is a beautiful album.

A Fistful Of Peaches is a refreshingly honest offering from the indie rock scene, and Black Honey make for the perfect couriers.

On their new album, they maintain this dive into pop, but with songs that are nothing like as captivating as their back catalogue.

Death Valley Girls have collectively crafted a record worthy of their dusty Californian roots, an album which is a step up from any previous works featuring some of their most infectious jaunts.

Providing a sweet escape from the overwhelming world that inspired it, M83’s Fantasy is one that listeners will drift in and out of, but it retains the exhilarating signature sound that the multi-instrumentalist is rightly admired for.