Cut And Paste is a well-crafted slice of guitar pop in and of itself, but it largely functions as a placeholder album that succeeds in stoking into life the flickering embers of a dying flame without ever truly reigniting the pyre.

An album that suffers from feeling just too assured.

Throughout the album, a more mature sound can be heard, which reflects their break from recording music, allowing them to evolve as musicians and songwriters on this more mature, risk-taking production.

The choice to make the album half fun, half sincere was a smart one, and the admirable trait of honesty through hardship definitely deserves praise.

While sweetened by a potent handful of emphatic guitar romps, DIIV’s latest record quickly overstays its welcome, and ultimately would do well to be remembered as more than just a watered-down collection of indie rock songs.

Both immediately hook-filled and intellectually deep at the same time, God First has already earned its place as one of the most exciting and unexpected releases of 2017.

Artistic development and risk-taking is to be applauded. With risk, though, comes the possibility of mis-steps. Sadly, here, this is what it feels like Tamaryn's done.

The wonderful ‘Isn’t That Enough’ recalls Neil Young’s ‘Harvest’ – it’s followed, aptly, by ‘Heart Of Gold’ – and these songs carry within them a quietly pervasive sense of direction, as though the album itself became a means of continuation. There are moments of real melodic distinction, too.

A gigantic album.

Lianne La Havas has grown up, branched out, written some devastatingly honest songs, and presented a highly competent album.

A solid second record with tinges of brilliance, it’s another fine piece of work from the busiest man around.

This is a body of work which highlights his famed vocals, feels perfectly produced and guides listeners through the hazy uncertainty of love and loss whilst still offering something fresh and clean.

Sabbath have produced a muscular, urgent sounding record that does no disservice whatsoever to those early metal masterpieces.

Can any record match up to a 20 year wait? Perhaps not, but when the dust settles fans will have one of Nas’ best rap performances, fuelled by one of the all-time great producers.

An honorable effort in what they do best.

The spaces in-between are almost as important as the notes themselves on a headphone album with which to brave the winter.

Every track gives you something new and exciting, while holding tightly on to Emilíana’s flawless voice and melodies.

The execution may at times be slightly slapdash and a little heavy-handed but the message is still there.

Bloody marvellous.

Whilst ‘Lobes’ doesn’t reinvent the lobe shaped wheel, this is an effervescent funk-laden album which will certainly brighten up those dark January evenings thanks to its soaring choruses and memorable melodies.

There’s a feeling that ‘Something Beautiful’ is searching for a unity that doesn’t quite coalesce, all while lacking some of the towering peaks of Miley’s more commercially-focussed work. A fascinating one-off, potentially; ‘Something Beautiful’ adds another layer to Miley Cyrus’ story.

Balance aside, ‘Get Up Sequences Part One’ sees the band doing what they do best, wading into an often cynical world filled with apathy and melodrama and detonating a glitter bomb - and you’ve always gotta love them for that.

Despite being the result of creative restlessness, After The Disco never really takes us anywhere new. By playing it safe, however, Mercer and Burton have also made it pretty difficult for fans to feel disappointed by it.

Although the succession of lukewarm tracks early on prevents this from being a flawless debut, Vic Mensa does enough to keep the album an engaging listen even in its misguided moments.

Expansive and exploratory, powerful and hymnal.

Neither offensive nor inventive this album is a bit like a bag of Rainbow Drops; thrillingly pretty but ultimately full of air.

While undeniably sweet on a surface level, 'Cry Mfer' is a clear reaction against the self-seriousness that runs rampant throughout indie music, and while its conception proved challenging for My Idea, this debut is a clear sign that specific working relationships can bear remarkable fruit.

Closer ‘SMILE’ drops the noise, and embraces beauty; the lilting guitars are pinned down by a dulcet vocal, with Rico’s tender singing voice resonates with beauty. Leaving fans on a softer note, she shows true bravery, and no small degree of self-acceptance.