A rallying cry for alt-pop insurgency, at its over-sharing best ‘WEIRD!’ firmly places YUNGBLUD as a dazzling Catherine wheel of Top 40 deviancy.

It’s a potentially fulsome harvest E.M.M.A. has planted.

While some of the more Top 40-driven tracks risk getting lost in the mammoth-like production value of his imaginative, left-field hyper pop tracks, the sum of the album is beautiful, intended to be enjoyed by both faithful Flume stans and new listeners drawn to the beauty of a cacophonous, glitched-out style popularised by super-producers like SOPHIE, Danny Harle, and more.

Though compact, Crawl Space draws the focus in on Tei Shi’s compelling and sultry vocals like never before and includes more elements of guitar.

Despite having occasionally moments of deflation, ‘Loving In Stereo’ is more refined than past work. Loaded with retrospective jams and summery hits alike, the record leaves their growth open to further exploration.

If 'Fleet Foxes' was an unbroken hike up from the foothills into the peaks of the Appalachians, 'Crack-Up' is more like the winding train ride home.

That the ‘World’s Most Successful Virtual Band’ sounds like something you’ve probably seen on the YouTube sidebar is apt. Otherwise, it seems to be business as usual on another jubilant and solidly varied Gorillaz album.

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.

A comforting return rather than anything revolutionary, it is nevertheless a welcome addition to his formidable catalogue.

It doesn’t always succeed, at times feeling too shallow for it to be as impactful as Mendes intended it to be. But when it succeeds, there’s no flaw to be picked out and for that it’s worth a listen.

It may showcase a cleaner sound, both in lyrical content and production, but its value for money at eighteen tracks comes at the cost of coherence.

‘Utopia’ has its limitations. The retro/out-of-time musical architecture feels a bit familiar, although magical closer ‘Hireth’ is a singular highlight. Nonetheless, there’s heady magic to be found herein, if a touch less so than on its creator’s truly otherworldly previous works.

Conversations is an impressive album, in many ways a unique one in this current landscape--though you sense that the best may be yet to come.

Although ‘Present Tense’ leans on the cumulative distance between its collaborators as its primary subject matter, it generates a distinct vacuity within the record.

ZAYN is a pop icon who sought retreat, and this record finds the UK-born singer finally re-engaging with the concept of being a main character once more. Yet it’s also highly subtle – the understated songwriting, the hushed, after-hours sonics give him space to lose himself.

Dan Deacon’s return into the solo world has resulted in an exuberant fifth album that leaves us craving for more of his newly honed skills. The fascinating contrast between his acoustic and electronic backdrop leads us towards an elusive higher power, while some of his lyrics bring us back down to earth.

Heartfelt and compelling, with Jones nurturing every last drop of creative sweat, Until Spring is a romantically epic album, lovingly pieced together by a compelling band.

While producer Paul Epworth’s contribution is accomplished, adding a dynamism that maintains our attention throughout, the record seems to lack an underlying theme. Bay has been a bit too clever for his own good, and on Electric Light fails to latch onto a identity that makes him truly unique.

Whether in love, experience or pain. This album supplies much-needed evidence for those experiencing heartache that their tale is not solitary, but there’s no right answer, and there’s comfort in that.

Psychedelic rock in its original form, the album is unlikely to win the duo many new fans, but as a testament to enjoying life, it’s unrivalled.

While not entirely successful, this set’s spontaneity is its greatest strength.

The Altar is more textured and artful than ‘Goddess’, BANKS growing into her role as a writer, upholding the sensual melancholia that characterised her debut. Yet, it still feels as if BANKS is fine-tuning her sound.

The Irish act’s short, sharp songs are frenetic and faithfully redolent of the staunch ’60s UK R&B boom that bore The Yardbirds and the Stones.

Largely The Anchoress’ arrival on the scene is a textured and lovingly crafted treat, bursts of melody, backing vocals and tweaked samples making for a lush soundscape.

The second album by the Melbourne five-piece is a riot, in the party sense of the word.

The endless experimentation can grate but ‘Fight Softly’ is a bold attempt to further stretch pop music.

Yuck is a satisfyingly catchy re-enactment of what would happen if J.Mascis, Kim Gordon and James Iha had formed an early Pavement tribute band.

Armed with some equally intriguing sleeve notes, This Ain't Chicago is more than just a collection; it's a journey.