‘Is 4 Lovers’ is both a worthy addition to the collection and a reminder of what the band has gained over the years since they were just two kids from Toronto blowing everyone’s minds by not hiring a guitarist.

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.

A solid debut, then, and one most likely coming to a festival stage near you this summer. Buckle up and be satisfied.

The album’s production works against it, however. Beyond proficient, it's so clean and glossy your attention slides off the album. You long for a little grit and texture to really bring the music alive.

Daring and beautiful, ‘Civic Jams’ lays claim to a singular location within British music.

‘How To Replace It’ finds dEUS facing up to their past and refusing to be hemmed in by it. At times daring, at others direct, this feels like the work of a band with nothing to prove.

It sticks in the mind for a good while after and just keeps bringing you back in with fantastic production, brilliant pop songwriting and a central personality as easy to like and support as any on the current music scene.

Overall, ‘Such Pretty Forks In The Road’ is relatable in parts and uninspired in others but for a few key moments of simple brilliance it’s worth a listen.

On Automaton, the band falters under the weight of its previous singles, leaving any possibility for chart success mired in a sound that comes across as tired and unoriginal, and the album listening experience as a monotonous ordeal.

An honest and admirable collection that merits some attention.

‘Unlimited Love’ is exactly what it says on the tin. A celebration of union, friendship, and life, all manifested across 17 tracks. Littered with lyrical easter eggs and distinctive Chili Peppers funky flare, this record is a regal return.

On this record Fat White Family solidify their status as a one of Britain’s most unique voices, and ‘Forgiveness Is Yours’ is the strongest example yet of the band’s caustic creativity.

This is an album that grows in grandeur with each listen, layers unravelling with every replay.

Always interesting, and with a deft use of traditional instrumentation alongside studio trickery, Fanfarlo have created another nugget of joy.

This is cheerful childhood innocence come to life - candy-floss dreams and rainbow rivers.

Black Radio 2 is a good, albeit safe recording.

The band have managed to capture their live energy with ease here, and in part due to this, and the album's relentless level of glee, it can become a tiring listen. However, one can't help but admire the band's enthusiasm and the gusto in which they've gone for these songs.

‘Describe’ offers a peek into life as a twenty-something, untangling the thorns of maintaining connections.

Serene yet disturbed, this is album that progresses the band well.

It’s not clear if this is to be the last instalment of the man on the moon franchise, but what is clear is that Kid Cudi is back on track, and with this release, has made his best solo album to date.

Originally whittled down from 40 songs Williams had penned from a jumble of sample-led ideas, You’re Welcome nonetheless features Wavves proverbial fuzzy guitar distortions and surf vibes, but includes his explorative forays into ‘70s psychedelia from South America, Cambodian pop and his obsession of ‘50s doo-wop.

With a more complex sonic palette than his debut, Mark The Hard Earth contains a number of absolute gems.

A nice refresher, if a little unnecessary.

It’s an impressive record, albeit one that’s often difficult to get a foothold on.

It gels together so well that it is hard to find fault. Other than the album needs some trimming. A lot of trimming. Which is a shame as there is a fantastic album in there but navigating it can be overwhelming at times.

‘Michael & The Mighty Midnight Revival: Songs For Sinners And Saints’ may be unwieldy, but its inviting, and has so much to explore.

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.

The departure comes with tracks like ‘The Bee’, itself a pastiche of the trip-hop genre, while tracks like ‘Melifer’ fuse the distinctive Plaid sound with pretty Balearic guitar melodies to keep things interesting.