Though undoubtedly a beautiful set of tracks, Once Twice Melody suffers from its length – almost eighty-five minutes is hefty for a listen in one sitting – and the occasional clashes in instrumentation and vocals, with sequenced drums and synthesisers taking away from the warmth of Legrand’s voice.

While this is by no means Let’s Eat Grandma’s masterpiece, it’s a welcome development in the journey of an endlessly fascinating band.

Bursting with promise, OK are more than their name suggests.

These are songs for songwriters, beautifully constructed and realised--after a full rotation, it'd be difficult not to fall in love with this album.

By getting back to what he does best, this is a sizeable step in the right direction, with ‘A Modern Day Distraction’ easily his most well-rounded project since his beloved debut.

Each song is different, and the wide-ranging scope is something we haven’t had from a collective since ‘Revenge Of The Dreamers III’ by Dreamville and J.Cole record label last summer.

Over the course of twelve tracks the dual female vocals transport and transcend into beautiful plateaus of heartbreak and hoedowns with a gritty edge unrivalled by their peers.

While this ‘everything but the kitchen sink’ ethos doesn’t always hit, No Sounds Are Out Of Bounds’s jovial attitude towards its own self-existence makes for an endearing listen that’ll no doubt flourish over time.

It’s surprising, but oddly delightful.

Embracing simple yet infectious lyricism, impressive guitars and folksy harmonies, Starkey has created another unadulterated Americana album in ‘Long Long Road’, carving his name deeper into the hall of fame.

‘Actual Life 3’ confidently guides us into an exciting future for UK club culture and encourages us to never forget what we nearly lost.

Fading Love feels like a transitional phase in the producer's journey, an accomplished springboard to launch a more definitive statement of intent next time round.

All Mirrors is a record that is so intuitive and interior, that it feels it could be difficult to penetrate - but it’s one hell of a prize if you give it the chance.

‘I Love You So F***ing Much’ is a bold return from Glass Animals, at times it feels that the concept slightly overpowers the album, but overall it’s a confident and well-crafted album that feels like it could be front and centre of an eclectic sci-fi soundtrack from the eighties.

While not without fault, ultimately ‘Forever’ emerges as a tender salute to Phife Dawg. Six years on, he remains a key aspect of the rap firmament – a light that has not dimmed.

It’s clear Danny is dealing with some demons, but his issues don’t dampen the mood.

The Liverpudlian foursome have by far exceeded expectations with their new, more defined, crisper record.

It must be said that a few of the dance mixes will sound a tad repetitive to modern ears, but what really proves fascinating is the melting pot of influences on display.

Like most King Gizzard records, it runs out of steam in the second half, but when ‘Infest’ rips it rips as hard as some bands who have been making this music for decades. Like the modern thrash revivalists, King Gizzard combine youthful energy with enough of their own inimitable style to make this excursion into the cobwebbed world of thrash fresh and interesting.

With Glorious Foxes has made a pop album that, despite occasionally drifting into melodrama, serves as an enjoyable listen stuffed with genuine pop-gems, sun-baked choruses and enough bite to warrant repeated listens.

Trap Lord is an impressive outing for Ferg and another win for A$AP Mob.

‘Lust For Life, Or: ‘How To Thread The Needle And Come Out The Other Side To Tell The Story’ is infectious, driven by passion and fun, yet built with clear intentions.

Like a virus-ridden PC vainly trying to upload lovelorn messages over dial-up to its neglectful owner, this side-stepping of the usual Hyperdub format is most welcome. We want more.

‘HEROES & VILLAINS’ bursts with ideas, not all of which land. A record that revels in contradictions, it grasps towards the light while framing itself in darkness.

There's no reaching out to new audiences here nor attempts to break ground, just an accessible expression by an artist with the freedom to do just that.

Equal parts entertaining and wide, it finds the rapper coming full circle, only to find himself once more.

At times struggling beneath its own weight, ‘F-1 Trillion’ is a love letter to the genre.

While the sonic compositions across ‘Pain Will Polish Me’ all become familiar, as though riding a common wave, it is Weiss’ storytelling that shines through.