It's another dose of what Dunn seems to be becoming a modern master of, while carefully trying out new textures.

Are You Falling In Love? is a difficult record to dismiss, or forget.

She knows exactly what she’s doing here – instead of simply incorporating other musical elements within country, Musgraves is inverting the process – she’s incorporating country music elements within other musical forms, often searching the best balance between the two.

Both fun and grounded, the charm of Nayeon is irresistible and whether you enjoy K-Pop or not, this is worth checking out if you are a poptimist in general.

Both fluid and ornate, this is a densely produced, subtly assured introduction to an artist who has the tools to grow into something more.

Reborn often feels like traveling simultaneously to the past and the future in a larger-than-life overwhelmingness similar to watching a film in IMAX. It’s this complete immersion that wraps the record as a whole, rendering it as exciting as the newest sequel of your favourite superhero series.

Nothing about the eight tracks on Humor Risk seems spare or accidental, as the record is expertly plotted and paced, never falling in to the samey or undifferentiable trap that his previous effort drowned in.

For an outsider, it is best approached without expectations, as Ambarchi has no intention to conform to them. Long-time followers of his work, however, will find the label of ‘workout’ very appropriate, as he flexes the creative muscles which have allowed him to create so many long-winded symphonies in the past.

On In Lieu Of Flowers, COVID-19 lockdowns and quarantine provide a suitably bleak backdrop to their narrator’s tails of spiralling alcoholism and isolation. .... Despite this, the music rises with an undeniable air of victory as driving drums and guitars crescendo alongside horn flourishes. Like on much of In Lieu of Flowers, West can’t help but be awestruck by the unlikely triumph of still being alive amidst the wreckage.

Show Me How You Disappear may not hit the highs of her previous work as far as aesthetically pleasing noise, but it is a clear step-up for Medford’s songwriting talents. This may not suit everyone’s fancy, but for Medford it seems she’s finally found her footing.

They're not quite catchy, not quite infectious, but they're hooky enough to get your head nodding.

Ryan Adams has delivered the goods right now and he appears to be more focused and in a better creative space than he has at any other point in his career.

Remiddi has produced a truly excellent record which resonates emotionally and sonically.

Her transitions between language and style are seamless, and the carefully crafted and idiosyncratic arrangements help to guide our ears along with her mind and heart.

At times, the measured approach he takes on some songs falls short of supplying the momentum needed for each part to hit in the exact way he wanted, but for the most part, Sheff creates a landscape of gentle dynamics that grow until they release their stored energy through unexpected eruptions of kinetic movement.

This is You & i are Earth’s best strength: its intimacy, its cosiness, and its unabashed adoration of its subjects.

In Our Heads is, at the end of the day, a signal that Hot Chip's masterpiece is still forthcoming.

The songs are mostly good enough to sustain interest through multiple listens.

Two Saviors is quiet and understated, yet thoroughly enjoyable despite rarely moving out of second gear. It doesn’t need to.

Order Of Noise is one of the most worthwhile genre-defying oddities of the year.

As transformation takes over and her approach to creativity changes, Magic Mirror shines boldly and brightly as the testimony of an adulthood that didn’t come at the cost of losing her spark of child-like enthusiasm. Pearl Charles has taken hold of that raw and bubbly energy, and skillfully turned it into a perfect silver sequin of her very own disco ball.

Equal parts sumptuous and subdued, it’s an album that flows seamlessly and possesses an elegant poise at its very essence.

It's a refinement of what he accomplished with Sugar, and is arguably the most consistently engaging album he's made since Copper Blue.

Though far from being a retread, Should’ve Learned bears some of the most evocative and affecting music of the quintet’s output thus far.

Leaving Atlanta is far from a perfect record - there is not anything approaching 'classic status' on it – but it is a very fine one, and certainly one of the best we will see in its genre this year.

For those who can appreciate his brew of melodic honesty and sentimental openness, The Vivian Line provides one of the purest pop experiences you’re likely to have all year.

The album sometimes feels as if Charli committed fully to her concept, but didn’t allow herself to branch out even further, reach higher, express – or even abandon – more. It is a symphony, but not quite an opus. Yet as it stands, this might actually be her most successful album.

She will turn heads with Tongues, and we would all do well to listen intently.