TILT is definitely missing the cool, camp interjections of Sugar Bones that were more prominent on their debut. Still, Conman has delivered yet another non-stop album that is guaranteed to raise the bar of your next party.

With The Jacket, Widowspeak prove once again they can find the irresistible spot between timeless and fresh. It might not be littered with huge, unforgettable moments, but the spell it casts lingers long after the music has finished.

Heavy Like a Headache feels like the natural next step and successor to Infancy and Happy Days! Expanding on both to enhance their playfully experimental and yet confident, brooding sound, it strengthens their status as one of Scotland’s most exciting bands.

Running With the Hurricane is the sound of a band who have hunkered down at home and found calm at their core. They might no longer be storming the patriarchy with this contemplative collection but Camp Cope has pitched their spot for a bright future, regardless.

The vocal melodies exuded on the album are irresistible. Paired with lush instrumentation, Sink Into Me is in a word, gorgeous, and the perfect soundtrack for a meander in the sunshine or a mellow morning in bed.

Ultimately, like the Henry Moore sculptures she mentions near the album’s end, Harding’s songs can be as mundanely lifelike from afar as they are strangely alien up close.

The album feels as much a personal exploration of Adigéry’s own heritage and life experiences as it does a commentary on social attitudes. But, most importantly, it establishes Adigéry and Pupul as a real force to be reckoned with.

Without doubt, Oxy Music honours Cameron’s skill as a storyteller, and his unique ability to embed some of the most outlandish lines into sanguine melodies.

This is untethered, uncluttered music, made with real heart by an artist at her peak.

CMAT is a pop tour de force who knows exactly who she wants to be and has all the talent to deliver it.

While Painless is not so far removed from its predecessor that it could alienate existing fans, the closing brace of the mystic and anotherlife present some of the more interesting ideas here, exploring the complexities and capabilities of Yanya's voice, as well as her more ethereal pop chops. If this is hinting at where she's heading next, it’s very exciting indeed.

SASAMI’s rich authority holds together an album that’s pulling apart at the seams.

A cathartic release following years of volatility and instability. It feels like the most important record of his career, as he works through his internal and external conflicts to, ultimately, find peace.

None of this group of songs are as good as those from her concise solo album, which only sprawled out with the ambient abstractness of its instrumental companion, something new and unheard for her. Here, listless listening is interrupted by the dangerous, mystical Simulation Swarm, saving the record’s back half. Big Thief are at their most beguiling when giving in to weird experiments.

Every second of the record is unconventional, rule-breaking, and mind-bending; the kind of album to ride a horse into sunset to. The Bitchos kick ass and you just know they enjoyed every lasso-twirling second of it.

For a band renowned for their experimentation it doesn’t feel like much new ground is covered on Time Skiffs and even after years of waiting, by the end of the album you’re left wanting more.

Bolstered with warm tones of sax and synth, bearing colourful thumbprints of the past, Pompeii is certainly a success of Le Bon’s continual daring.

It's a fascinating second album from a band that feel genuinely unpredictable.

The record does peter out a little with the closing few songs, and it can’t be said that Mitski has broken significantly new ground. Still, she’s as enchanting as ever.

These are songs for dark evenings in big cities, dancing through heartbreak. For when you feel small, but anything feels possible.

It adds up to a remarkable work of often queasy beauty that never releases its grip.

Ever the musical misfits, Blood Red Shoes’ righteous spirit remains even if their sound is a shape-shifting entity.

Unfortunately, Olly Alexander’s first solo outing as Years & Years doesn’t quite hit the mark, but even though they may be few and far between, there are still some glimmers of potential on Night Call.

It's a little front-loaded as the first three songs are by far the most immediate (except Witness and Pour Another) and memorable. But luckily, Tall Poppies anchors the closing songs with its six-plus minutes (nothing else exceeds four), painting a grim portrait of dreary, provincial life without being condescending (ahem, Model Village) or reductive (Glory Days).

A masterpiece in wistful, cathartic electronica, his seventh studio album Fragments.

kiCK iiiii is her most celestial, yet unadorned, collection of songs yet.

kick iiii was intended to be all instrumental piano, and while it certainly isn't that, it is a relatively calm affair (in stark contrast to its violent cover).