What can I say? It's just a really f*cking good rock album.

With more questions raised than answered, Cain’s unusually ambitious and fully-realised debut somehow leaves listeners craving more in spite of its wonderful, exhausting, 75 minute runtime.

In many ways, it’s Wet Leg’s small imperfections that make it the perfect debut – an impressive, tantalising exploration of their core talents that leaves just enough room for improvement.

She has found a way to go beyond merely soothing; she nourishes her soul with each word uttered, building herself up into the titular Protector. This is the sound of her new day dawning, and it’s a wonder to behold.

It's exceedingly confident with what it does and it spins a very individual and emotional tale that's more than worth investing in.

Arcade Dynamics still might not be for everyone, but singles like "Hamilton Road," "Art Vandelay," and "Killin' the Vibe" should not go unheard.

iTunes Sessions does it again with a rewarding little surprise that none of us were really anticipating, but are plenty glad to add to the collection

While The Year of Hibernation doesn't rocket into the stratosphere so much, it's still an exemplary debut.

They have managed to recapture the magic that permeated their best material and made it so imminently replayable. This is a bold move that should be celebrated, and more importantly, it should be emulated.

He Gets Me High is definitely worth a listen, if not a purchase.

Still, beneath all of her oohs and la la, is a dark-blue and starry expedition, a true passion for two musicians that really just permeates straight through the glittering guitars and infectious, harmonized choruses.

Radical Romantics offers enough detail, emotion, and vigour to tide us over until the next inevitable shapeshifting moment.

This is undoubtedly going to be a divisive one for long-term fans, with some holding it up as just as vital as anything else, while others will simply overlook it or just take a couple of highlights to add to their ‘Best of PG’ playlists. Whichever the case, whether you devour it or dismiss it, there’s no denying that it expands the mythos and majesty of Perfume Genius.

Heaux Tales is a provocative return for Sullivan that showcases her incredible knack for storytelling.

Philadelphia brings grace and elegance to an era removed from spiritual insight. In that, it is deeply philosophical and absolutely necessary.

Implosion not only delivers on this maxim but it might just be the heaviest thing Martin or Fiedler has ever done.

The wicked atmosphere that they’ve crafted across Heart Under is worthy of celebration alone.

Her latest, HiRUDiN, is another notch on a belt which is tightening its grip on pop supremacy.

Does the album need three spoken-word interludes and a therapising outro? Not really. But when those beats are descending on the last (proper) song “Turn It Around” and Idehen and his singers are singing about self-redemption, none of that matters – your face will be hurting from smiling.

They may be lumped in with the recent girl group pop fad, but End of Daze proves that there is nothing common or ordinary about this band.

Mong Tong 夢東 have made something that’s rewarding in both the short and long-term, and they have the nerve to make it look easy.

In a catalogue as rich with esoteric bangers as Bat for Lashes’, a work this defined and heartfelt still is a striking gem. A hushed secret, it has more to offer than just that.

Simpson’s voice is more resonant than ever, his melodic sensibilities on full display. Over eight songs and 41 minutes, he forges sublime and heartfelt work, evoking the epic poles of experience: loneliness and belonging, forlornness and gratitude, faith and doubt.

The band delivered a tight album with hardly any missteps. It might not have been worth the seven year wait, but it's a really enjoyable album nonetheless.

Regresa is a perfectly produced, fully realized debut from a promising, intriguing act. Its vibes couldn’t be more relevant in 2020, and beyond its vital plea for compassion, justice, and progress from a duo hailing from a cruelly maligned place, on a more simple level, its music is simply damn enjoyable.

As a whole, Lex Hives serves the same purpose as just about every Hives album thus far: dance, let yourself go, and have a good time.

Even with guests and layers stripped away, she can still construct ambient moments that stick in your head.

Nothing Is Wrong sees the band not only avoiding the often-discussed sophomore slump, and rising to the challenge and delivering a far more accomplished record than their first; one that should make the band into one of the biggest and most respected in the current americana/folk rock community.