It feels like a career-straddling greatest hits collection in which all the ‘hits’ are brand new.

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.

A Better Life is an entirely different beast, expanding on their debut’s vigorous garage-pop sound to create something darker, meatier and much heavier on all fronts.

Sule Skerry is a hymn to the sea, and it certainly feels that way in places: there’s a gentle ebb and flow to its ambient pieces which rarely threaten storm’s break, save perhaps the more urgent arpeggios of ‘Lump O’ Sea’.

It’s a worthy project, one that demonstrates to the listener just how much METZ crushed from day one before reminding them that they haven’t stopped crushing it since.

'ENERGY' sees the duo step out of their comfort zone, engaging with an array of previously unexplored artists, genres and themes. They have wholeheartedly refined their vision and approach as artists.

As an ode to the pleasures of the dancefloor, Kylie has delivered her most unashamedly fun record in almost a decade.

‘BUMMER’ is a record made to be played hard and loud, heard blaring out of car windows and making cavalcades in faceless crowds.

The album’s 14-tracks takes the listener on a mystical journey of hope, realism, racism and, eventually, the bright stars above. Unfortunately, with every shot of adrenaline and excitement that comes through tracks such as 'Obrigado', 'Mirrors' (featuring SnoH Aalegra and Cam O’bi) and 'Skip To My Lou', there are other that slam on the brakes just as forcefully, just as momentum and energy were building.

When it punches hard, ‘Jose’ doesn’t miss. ... Yet ‘Jose’ – like Drake and Kanye’s efforts, previously – is led down by quality control. The creativity is undiminished, but it struggles under the weight of its 24 track span – clocking in at more than hour, the record at times tries the patience.

With Johnny Marr-Esque riffs, life-affirming lyrics that have a sincerity, depth, and wisdom beyond their years, the Lathums are cementing themselves as one of the UK’s top bands.

‘Now or Whenever’ is more of a grow-er than a show-er but has much to show for itself.

Perhaps it’s their captivating storytelling taking a psychological turn, or maybe it’s the way they’ve incorporated cutting edge electronica, pop and R&B elements into the melodic energies of classic new wave, alt-rock and indietronica, but, ‘Fix Yourself, Not The World’ is a record that will appeal. It is arguably their best work yet.

Throughout a collection of moving gems that have the potential to evoke heartbreak, ‘Nobody’s Home’ also houses contagious jams that speak to Bakar’s take on the infectious nature of indie rock.

'Homesick' is defined by its anthemic vulnerability, truly capturing a sense of coming of age excellence. Much like the outfit’s previous releases, there is this sense of familiarity stitched into every track, making the nostalgia shine even brighter.

It’s not expressly about anything. This is music that performs confidence, that uses confidence as a genre rather than embodying it in any convincing sense.

‘SUCKERPUNCH’ sees Chloe Moriondo at their most daring and most confident on what is by far their most creatively impressive album to date.

NLE Choppa has his sights on the prize, and he’s armed with some career-best material. Without doubt his finest project yet, ‘Cottonwood 2’ pushes NLE Choppa into the upper echelons of Stateside rap. Next stop? The world.

The project does retain a level of focus and direction, despite the chameleon-like nature of Crosses, making for a thoroughly enjoyable and dynamic listening experience.

If you like filagree synths and dimorphous melodies, then this is the album for you. The songs are immaculately crafted. The melodies catchy. Lyrics memorable.

It’s nebulousness as an LP mirrors the queer experiences that created it – it’s cerebral, constantly in flux, refusing to be defined as any one thing.

There’s an unpredictable feeling to the way a lot of the songs unfurl and from a purely musical standpoint, they’ve never sounded more confident or finely tuned as a unit.

Tracks like the Bonobo-esque ‘Green’ are properly lovely, and wholly capture an air of sun-setting, downtempo chill that you’d have to be stony hearted not to enjoy spending time in. If there’s a downside, it’s that a couple of tracks sack off the sense of seductive, textured chill in favour of some prosaic ideas and unfortunate reference points.

A succinct declaration of independence, ‘Formula OneDa’ finds the Manchester rapper nailing down her testament – she implores you to listen.

At nine tracks, some short, Bananagun’s return is always enjoyable but never quite stellar. Bakel’s ability to conjure a thrilling live sound and tangible atmosphere deserves plaudits – let’s just hope that next time around, there’s a little more structure and a sound they can call 100% their own.

It’s an absolute treat. Littered with innumerable highlights and demonstrating a remarkable consistency across its 16 tracks.

On ‘Anatomy’, her second album, Potter delivers a collection of songs whose meanings are never clear. Are they about relationships, the planet, films distilled into three minutes? It’s this lack of clarity that makes ‘Anatomy’ so enjoyable.

What a thrilling and implicitly optimistic experience it’ll provide. ‘Ferrum Sidereum’ is the sound of human brains (and souls) firing in a manner that no machine ever will.