Nothing Great About Britain permeates everything about this fantastic first record from the soon-to-be-star that is Tyron Frampton.

So, taking all the wide-eyed playfulness of their earlier work, and the confidence in creating a sonic tapestry of their latter, ‘Only God Was Above Us’ is both their most accomplished and most Vampire Weekend album yet.

Endless Flowers is an amazing effort that deserves a place at the top of its genre. This album deserves to be heard and loved. Do yourself a favour and get yourself a copy once it hits the stores.

With seemingly none of that badass-ery from their classic late-’90s output diluted by the passage of time, ‘Little Rope’ sloshes up nothing less than a condensed, rocket-punch collection of ten three-minute bangers.

There may well be no such thing as a ten out of ten album, a level of perfection and flawlessness that is by all likelihood totally unobtainable; but it's hard to imagine anyone coming closer than these five men from New York.

Everything here has been given room to expand, songs drifting from dreamy ascension to full-blown rock revelation and back again. An album of immense power and conviction.

Full of heart and full of ideas, it’s big, clever and brilliantly odd.

She once again explores new ventures, crafting a pop album that celebrates the old classics as well as the new, and cements her status as a true pop trailblazer.

The lyrics are a little more personal, the band a little more developed - it seems that this is the start of a new and exciting chapter for The Gaslight Anthem.

This is a fully realised version of who and what they have always been.

Confined to merely six tracks, the ‘La vita nuova’ EP feels like it ends too soon - and that’s entirely symptomatic of how strong the songwriting is. In 2020, Christine is still truly in a league of her own.

One of the most endlessly intriguing albums of the year so far.

Across the record, the winking lyrical smarts are in full flow.

‘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.

It’s an album which documents a fierce imagination at play; a truly invigorating piece of work that pushes her songwriting forward.

Every second of ‘Wicked City’ feels meticulously thought through, the huge breadth of sonic terrain the duo cover the result of real care and attention paid at every juncture.

Life is too short to waste time. ‘The Myth…’ expands from this vital message, allowing the record to emerge as Biffy Clyro’s most emotionally powerful in years.

Perfume Genius is worthy of the hype, and the hyperbole: this is a fantastic record.

A masterclass in grandiose ferocity, the album harks back to the urgency of their early days and collides with the expansive melodies that underpinned much of their more recent output. Although on the surface the most aligned to their turn-of-the-century sound, ‘Ohms’ is filled with the twisted flourishes and unexpected juxtapositions that have guided the band’s lengthy career.

This is thoughtful, nuanced R&B that demonstrates Jorja’s kaleidoscopic feel for her genre, incorporating everything from neo-soul on the brooding title track, to flirting with dancehall on ‘Feelings’.

Haunting, heartbreaking and life-affirming, Angel Olsen’s songwriting talents soar to great heights in the mostly restrained palette here, offering the much needed space to wrestle with the complexities life has thrown at her.

Call it chill wave, call it dream pop, call her a bedroom producer - this album’s full of enough variety and adventure to make such generalisations moot. A real triumph.

‘Immunity’ was a shoulder to cry on, a promise that it will all be okay, eventually. ‘Sling’ feels like that “eventually” coming true.

Synths bloom like the early morning rays of the sun, reaching out to a lover lost in the darkness. ‘Tu sais ce qu’il me faut’ celebrates seduction as he lusts over a beau; the way they walk, the way they dance, their body is celebrated in all its glory.

All-in-all, ‘Man Made’ is an impressively accomplished, ever-giving record that rarely fails to enchant.

There’s just enough instrumentation to add depth and texture to Vince’s characteristically excellent delivery, but the rapper still stands front and centre, allowing a less bombastic tone to shine. ... If you arrive looking for the hooks of ‘Norf Norf’ or the explosive chemistry of ‘BagBak’ you could be leaving half empty-handed. But if you’re here for Vince Staples, you might just see more of him than ever.

With the emotionally charged beats of ‘Black Mascara’, the candour of ‘Body Dysmorphia’ and the unfiltered soul of ‘Buss It Down’, it would be impossible for anyone to sleep on RAYE anymore.

‘Roadrunner…’ sees Brockhampton silencing any of those who feared they might have lost their spark. It’s a record that - if it is truly one of their last - sees the lads going out with a bang.