This is the Bollywood-tinged, swinging disco album you deserve.

‘What To Look For In Summer’ is an enchanting compendium of the bands live work and is an ideal accompaniment to spirit you away to those carefree summer days of enjoying live music.

Always Inside Your Head is often a frustrating album, peppered with sparks of genius and disappointing dead-ends. Ultimately, though, it’s another example of an artist constantly – restlessly, you might say – developing.

The rawness to his vocals add grit to a sound definitely polished, but not sanitised. ‘Some Nights I Dream of Doors’ may shed the crudity that helped build intrigue around Obongjayar, but there’s enough here to excite the faithfuls and attract new members to ‘OB Dream Corp’.

A revealing, continually powerful set of songs, ‘Here Is Everything’ is a fantastically engaging experience, arguably the strongest set The Big Moon have placed their name against.

‘Higher Than Heaven’ is a pitch perfect return. Following her excellent 00s channelling Calvin Harris link-up ‘Miracle’, Ellie Goulding is on her best form since those epochal blog era bops in the 2010s… and we are here for it.

It is an intriguing new chapter in the Villagers story that will reward listeners who spend some real time unwrapping it properly.

Able to speak her truth, ‘What A Relief’ is a valuable insight into a profound creative talent, and a gorgeous listen.

Closing the album out, it becomes clear that Moonchild Sanelly takes a more reflective approach to the project, one that is undoubtedly her strongest to date.

Witch Fever is a band with overwhelming promise. Even in ‘FEVEREATEN’s less cohesive moments, they show their potential to grow into their sound and harness every remnant of emotion.

‘Stardust’ is more fun than it is masterful.

‘Everyone’s A Star!’ never loses its sense of fun. The album feels like their debut record, but grown up, bolder, and fully in command of its sound.

CHVRCHES are a still a terrific alternative to the barrage of mind-numbing EDM and soulless euro trash of acts such as Icona Pop that permeate our airwaves and devour advertisements. Another heavenly and peerless collection from the Glaswegian synth-poppers.

It’s heartening to hear, after all these years, that time has not diminished the intensity of those performances.

His camp fire ramblings and angry rants soon become tiresome with much of Turner's fourth album feeling like material he has trod before.

III is a triumph that takes pop and redefines it, and may come to be seen as a watershed moment for the group as they hit full stride.

Not every track is as strong as ‘Black Skin Girls’. ‘The Lion King: The Gift’ showcases what Beyoncé can do at her best and most creative, yet consistency is an issue with this eclectic album.

The album's arrangement of serenading beats and jazzy undertones has genuinely proven that Kehlani is a force to be reckoned with.

Compelling back-story aside, Understated--Collins’ eighth solo album--is a magnificent set of songs.

Often heavy in terms of lyrical context, in turn comes equal measures of humour: it’s difficult not to hark back to the tear away trousers with golden booty shorts underneath which Steen dons live onstage: ‘Cutthroat’ feels equally cheeky and to the point.

All of this ultimately comes together to create an utterly enchanting piece of work. A record filled with countless intricate and carefully considered elements, and yet one that never feels cluttered, or at risk of losing its pervasive emotional resonance.

There is plenty of time for Guwop to build upon the formula that already has him winning.

A warm, endearing release, Everything Ever Written is a bold and profoundly independent return.

This record is an exploration into the synergy of reengineering technology and humanity. Let yourself be taken on the journey.

‘6PC Hot’ is a suggestive, highly creative return, one that suggests fresh possibilities while further reinforcing the songwriter’s future-charged brand of arena level R&B.

It’s this tight-rope walking of pop-maturity, moment-capturing awareness and beauty-in-simplicity attitude that has aided in Seinfeld’s rise to the top of the dance music ladder, and has helped him shape a record that showcases exactly where he is sitting in terms of sonic aesthetic right now.

Of the two acts, Costello’s pinch of dry spice makes this set more his vehicle to champion, but both show a mutual, practical affinity.

With a limitless blend of genres, there are songs that your pop princess can access alongside her punk sister, uniting them in their struggle.

Blake’s lyrics often circle ideas rather than landing on them, leaving some songs feeling like emotional sketches. But that ambiguity is part of the album’s appeal. These songs feel lived-in and unresolved, the way real relationships often are.

Typically for Gainsbourg, there's a real mix of things going on here, from relaxed fun laced with irony through to quirky takes on love songs full of the louche suggestiveness befitting of the most ardent romantic.

As a whole, Savage Times is a chaotic, yet interesting album.

With six of the fourteen songs already in the public domain, the LP tips its hat to familiarity whilst still creating a whirlwind of excitement from fans.

IV marks a refinement of the BADBADNOTGOOD sound and as ever is filled to the brim with gorgeous melodies and impressive digressions.

Occasionally the momentum wanes, but only the cold-hearted could fail to forgive the odd misstep from a band taking risks, shaping their sound and refusing to stand still.

In truth, the material does a decent enough job of filling the acerbic, punk shaped void left since their decade long absence.

Life is about growth, and with this bold, brave project Loski matures as both an artist and a man.

While it doesn’t reinvent the wheel, ‘Louder, Please’ is a wholly enjoyable record that captures the spirit of the dance floor with unflinching authenticity.

Daniel Avery’s DJ-Kicks does nothing ground breaking and for a listener familiar with his productions and sets, will excite only for the new material it contains.

As the songs start to slow in the second half of the album, the focus starts to wander. The songs aren’t bad, The Drums have put out a lot worse, they just drop the thrilling momentum of the earlier half.

‘Tonic Immobility’ establishes a consistently immersive pull into a world that you don’t want to be in, but that you can’t quite escape.

Every entertaining diversion the band tries their hand at is balanced out by a nondescript jingle-jangler.

Undeniably impressive, ‘Three’ neatly frames the wondrous aspects of Four Tet’s work. It doesn’t move beyond the landscapes fans will be familiar with, choosing instead to embrace a more understated pursuit of evolution. For those in search of electronic beauty, however, few albums will be more radiant or rewarding.

This is more Ben Frost than Burzum, more interstellar overdrive than terrestrial church torching. And it’s just a bit brilliant, basically.

Bolt on an undeniably zealous execution, a set of simple yet well-written songs, add an element of confident adventure via some experimentation and diversity and the rebirth of indie may just have found its leading protagonists.

Molly Burch’s debut saw her emerge as one of the finest songwriters around, and the follow up only cements that.

A strange brew of instrumentals both delightfully becalming and playfully boisterous.

An album pieced together by a band in mourning, with the sweet sadness of O'Riordan‘s voice layered over, makes it cruder, rawer yet ultimately more truthful and hard-hitting, evoking the charged vulnerability of their very first releases.

A project that outstrips most of his peers, ‘Intruder’ offers a stark and impassioned vision of our society – one that could well rank as his most complete project to date.

HWTD has dug himself a neat, little songbird alcove and it's one only he can reach.

It’s a ridiculous, and ridiculously enjoyable, treat, a sign that rock and dance don’t have to be at odds with one another. Taken as a whole, ‘Typhoons’ is a daring evolutionary gesture, one that finds Royal Blood claiming fresh ground for the future.

Uncompromising and unconventional, ‘Glasgow Eyes’ sit comfortably in The Jesus and Mary Chain canon.

Much like the show itself this is a wonderfully crafted set (check out the deluxe ‘condiment’ vinyl), which is at times both smart, sweet and very, very, stupid.

It is the blistering irresistibility of what is achieved at that point, which makes this record striking and inescapable.

A distinctive, nigh-on unique listen, ‘Isn’t It Now?’ is a fine experimental broth for Autumn listens.

This time, the concept of political awareness reigns supreme, accompanied by some funkadelicious licks from The Roots' guitarist Capt. Kirk.

t’s open season on genres here. There’s the puerile punk of ‘Hollywood’ (“makes me wanna puke”), and the misguided balladry of ‘What’s With You Lately’. But they’re the only real bum notes. This experimental streak finds better pay off on ‘Hymn (Remix)’, crammed with juddering synths, and the delicious 80s pop of ‘Can’t Cool Me Down’. Sometimes, they veer almost to the middle of the road, radio-friendly hit ‘Martin’, warmed up with muted brass and intricate looping.

The Blue Hour is unlikely to win Suede many new followers, but it should convince any fans of old that their vitality is restored and they are at the peak of their powers once more.

Though her personal tragedy has been transformed into an affecting record of real beauty, one truly hopes Li’s next chapter isn’t quite so agonising.

The only shortcoming is that Machinedrum lacks a definitive singular angle, making him amongst the frontrunners of dubstep/juke interpretation, but not quite ahead of the pack.

Food is a fabulous and immediate record, rich with muted brass and low-key electronics.

This is a strong record that's all the more powerful for being so wonderfully, majestically disjointed.

‘The Don Of Diamond Dreams’ is a glorious album that yields more and more with each listen. And listen you need to, because if you don’t you might miss something.

Overall, it's a glittering, multi-sensory synth-pop record that compels you to let yourself be transported through cosmic dimensions and the rich, textured under-layers of Beck’s creative psyche.

It’s an ambitious and sprawling work that tackles some big topics, but it’s not fit to hold a candle to the likes of ‘Lemonade’, ‘Blonde’ and ‘A Seat At The Table’, all of which have furthered the cause of confessional R&B this year, and have done so while being resolutely down-tempo.

Highlights ‘Voice’ and ‘Sonic 8’ will be a surefire test for any club or festival sound system to really prove its worth, and the cold, menacing techno of ‘Release’ sounds a bit like the insides of a power station working really hard to keep a city warm. That said, if you don’t have the huge rig needed to do these tunes justice, and with the days outside just getting warmer, it might be a tough sell to sit at home and curl up with ‘LP. 8’.

Best listened to with the context of Part 1, the way Part 2 rounds the 'Everything Not Saved Will Be Lost' era off makes for the argument that this is Foals' most accomplished body of work to date.

The album does lose momentum towards the end but hey, here we have a relatively new band experimenting with the boundaries of their proposed genre, with generally impressive results.

This is a debut with lots to love, abundant in experimentation and overall pop accessibility--and not many comparable collections can claim those qualities.

Sure, it’s not as good as ‘Turn On The Bright Lights’, but c’mon, it was never going to be. But as an exercise in getting back to where you once belonged, El Pintor is highly successful.

There’s little here to alienate his fanbase: these 10 tracks might sprawl in length but they’ve a familiar mesh of earnest words and slow builds, autumnal in hue but with a fireside warmth.

Some songs do pack a bigger punch than others, but at a brisk 33 minutes, the album never once outstays its welcome and even throws in a few surprises along the way.

Lovely tunes and scrupulous attention to detail make Resolve Poppy’s best album to date, equally suitable for quiet relaxation as well as a more conscious enjoyment.

This is the sound of Fevre going out on a high, its nagging beat and air of sensuality sounding utterly timeless, yet wonderfully, weirdly, unique.

Accept no imitators; SALEM are back and are still capable of giving us the ultimate soundtrack to the end of the world as we know it.

It's no secret that remix albums are often tricky affairs, especially when meshed with beloved rock songs. Luckily everything off Pony's dark twin is enjoyable, if not essential sounding. Overall, it’s a fun curio worth exploring and saving a few of its more ambient moments.

‘GRRR Live!’ has further cemented The Rolling Stones’ reputation as one of the best live acts of all times as well as being one of the most memorable shows in the band’s history.

A potent third record that retains a pop heart whilst wandering off into compelling new terrain. Her exploratory take on pop is gorgeous, redemptive, and full of life.

‘Escape Room’ reverberates with cinematic flair and curatorial focus, but its true strength lies in Taylor’s understanding of the RnB rhapsody through time; the love song that is most effective when it’s spare and submerged. For this reason, ‘Escape Room’ is as necessary as anything Teyana Taylor has ever recorded.

Dream Wife’s self-titled debut is a satisfying and infectious trip of lo-fi indie pop that starts 2018 off with a much needed shot of adrenaline.

Ultimately, as a standalone record, Nothing feels somewhat incomplete.

Ultimately, the Achilles heel of the whole project is how invested, how much fans will truly believe in this. To some, it’s a meme stretched to breaking point, the elasticity of his flute-playing hauled out to become an opaque sheet, void of detail. To others, it’s an excellent – almost unclassifiable – mood piece. Whether it’s the meanderings of an internet-savvy millionaire or the crucial work of a modern day ambient auteur is perhaps in the eye of the beholder.

Unlike their first three albums, What Went Down arrives without any obvious standout singles and is a far cry from Foals' early energetic indie sound. On the other hand, it's impossible to deny that the overall album is a hugely accomplished effort from one of Britain's best surviving bands.

Sure, few will love everything on here but the hubris, yet the sprawling mess that is More Light can’t help but impress.

An album that plays true to who MUNA are: inquisitive, bright, and ever-defiant.

The darker, lilting tones of Oreja De Arena work better, but this album still sounds confused. As a result, its overall impact is diminished.

An ever present Gang of Four musical demeanor, and the untiring pace of Fugazi makes 'The Chaos' quite aptly relentless.

The Eel Pie Islanders' sees the band mature as songwriters, which should attract the mainstream attention that's so overdue them.

Though hit and miss, Brighter Wounds is a solid addition to the group’s catalogue.

The Scandinavian chanteuse has returned with more anthemic contenders in the shape of her sophomore album 'How To Let Go'.

A solid return, there’s a lot to recommend here – for those familiar with Slow Pulp’s influences, or otherwise. Engaging songwriting with a real punch, we’re already looking forward to catching them live.

Last Place is an occasionally misty-eyed but very welcome return. A broken but pretty mess.

There will be plenty of people who opt to be snobby about the fact that this record is so commercial, so polished and so brazen, but those people are all, to a man, idiots. If you can't love these songs, you are incapable of experiencing joy itself.

Why Love Now is a brash ballache of an album that will make you hate yourself as much as it makes you hate the world. Rest assured lads, the bar is now slightly higher than it was a week ago.

Shelter is a haven that tugs you out of your comfort zone.

Alexis Taylor’s vocals are always worth experiencing, blessed as he is with one of his generation’s most striking pop instruments, yet ‘Freakout / Release’ doesn’t tug at the heartstrings in the same fashion as ‘Flutes’, say.

‘Butterfly’ doesn’t just reaffirm the endeavour’s relevance; it raises the bar. It may only be February, but this already feels like a defining electronic record of the year.

Other than final track ‘A Certain Spirit’, the clearest crossover of irked techno and David Byrne-d, samba deconstruction, the melting pot (remember those aforementioned ingredients) that has gestated for five years ends up being served cold as gazpacho.

An apt step forward, Rave Tapes finds its makers matching grace and irreverence, noise and beauty with the don’t-give-a-f*ck bravado of people who can only know better.