Of course, though there are moments when UK Grim feels more three-dimensional than previous records. It’s still very much a Sleaford Mods record, and as such will do little to sway anyone who isn’t already a fan of the band.

On Radical Romantics, Dreijer wears their heart on their sleeve and delivers their stories of love and lust with classic Fever Ray conviction.

It’s a glowing return from Kate NV, a cavalcade of bright sounds arranged into gems of pure, often brilliantly silly fun. Her finest work yet.

If it's nostalgic, unapologetically pop inspired music you like, then this is certainly the album for you.

It doesn’t give away much more of the bigger picture, and it’s not quite clear yet how it will interact with it, but daine builds new dimensions with every move.

With a wholehearted desire to make music purely for himself, UGLY displays an artistic freedom regained, reconnecting with what drew him to music in the first place. It’s a creative direction that will most likely not stick around, but that’s what makes it that bit more authentic.

While by no means a bad record, Sam Smith’s Gloria is largely hit-or-miss.

Sure, these songs are dense, but they are dense, triumphant pop songs. They will make you want to get on up and turn it loose.

Cyclamen is immaculately crafted and the arrangements themselves would be worthy of praise regardless of whose name was attached to them, but it’s Graham’s razor-sharp lyricism and vivid vocal delivery that gives the music real heart and therefore makes the LP worthy of listeners time.

On This Stupid World, Yo La Tengo proves they are still relevant arbiters of rock.

The sound of the album is too monochrome in general, with ballads and epics all drawing from a similar palette. That being said, there are stunning moments too.

Once the tempos settle and some semblance of rational order is retained, Eye of I proves a less gnarly companion.

The slow continued pace, and almost slog of the record encapsulates a universal grieving.

It adds certain depth to its predecessor and itself, but if this came first it would’ve only made Quest For Fire better and a more enjoyable listen.

An experienced musician as Lambert is working with top producers such as Tommy English (Kacey Musgraves, Carly Rae Jepsen), Andrew Wells (Halsey, OneRepublic), and more to create a record that is beyond a covers album: it is an experienced display of composition, and how to reframe music to new audiences.

Good Riddance verges on greatness, an incredibly honest portrayal of guilt, doubt, and heartbreak.

Remy’s new tracks are more slickly produced, built around retro and upbeat sounds.

There isn’t a better way that Skrillex could’ve made his return, and Quest For Fire will undoubtedly be remembered as one of his best.

Food for Worms is frustrating in its lack of direction, but more than anything, frustrating because it could be spectacular.

Algiers don’t feel ahead of the curve, they feel like they are racing on a different track. When combined with their expansive range of collaborators, that willingness to go their own way makes for a powerful new addition to their catalogue with Shook.

On first impression, in|FLUX is almost alienating, an unsettling listen that does all but invite you back for more. But with determination, passion, and survival instinct – the very feelings explored at such length – it yields excellence.

Though its exploration sometimes lacks cohesion, it succeeds in pushing the group’s sound to levels of experimentation.

TRUSTFALL is largely an introspective record – mostly quiet and tepid, breaking out in select moments.

The desire she sought to turn into on the title track is fully realised in these mesmerising and wholly unique soundscapes.

I can see many listeners of all ages finding comfort across its eleven songs, bridging angst and hope as they navigate personal crises. Not only did Pierce The Veil understand the assignment, but they delivered it with almost flawless execution.

There’s no sense of resolution by the end of the record. Its characters could be equally pitiful as they are decent. Still, Andy Shauf’s talent for playing god to these little dioramas is as consistent as ever.

Truth Decay is still, at every turn, a quintessential You Me album. The choice not to deviate into experimental territory is comforting rather than disappointing, and a more than solid addition to their catalogue is no bad thing.

It is an overall cohesive and grand statement of an album which opens with familiar sounds, and explores jutting, pointed off-shoots, before crescendoing with “Thick Skull”’s cataclysmic pop, all the while holding a relative level of self-involvement and privilege.