A collection that is deeply reverential to the Americanised folk music form, and which also gratefully repays the debt that Rufus Wainwright owes it.

Somewhere between the elongated delivery of Joanna Newsom and the peculiarly soulful croak of Karen Dalton, this is a clear case of the voice as an additional instrument.

His inspired wordplay is consistently great and occasionally brilliant.

Typically rich, but this time, a playful outing.

It’s an accomplished if somewhat safe set of songs; a JoJo on the cusp of finding her range.

It’s a beautiful album, and it’s the sound of a band realising they can finally do anything they want with sound.

These charmingly often positive tales are inspiring, yet it’s the combined nature which the producing delivers that makes this album shine.

The resulting work is cracked but compelling, a real warts and all record that slaloms its way between moments of breathtaking romance and ugly reality. Occasionally its composition feels scrappy or unfinished, but this doesn’t particularly mar the experience of listening to it.

A refined 10 song document that cycles through moods and tones, ‘This Is Really Going To Hurt’ is perhaps the finest example yet of Flyte’s undoubted artistry, and offers yet more proof that they remain one of the country’s most underrated groups.

PINS still have a long way to go, but they've essentially done what few bands achieve on their second album: made a record more focused and measured while retaining rawness and negating the use of effusive production.

An engaging album devoid of stagnancy.

Existing in a different realm to ‘Chromatica’, it’s testament to Lady Gaga’s astonishing breadth, and the timeless effervescence of Tony Bennett.

Wasted Daylight, a sugary, ambient number, offers a particularly sublime performance from Millan, as does He Dreams He's Awake, of Campbell. However, these two are the fairly obvious highlights in an otherwise misfired effort.

It’s a slow burner - a passable Twin Peaks album that could, with time, become a great Twin Peaks album, but as of now, we haven’t quite gotten there yet.

While they still don't quite seem to be the finished article, there's plenty of promise.

He’s managed to successfully replicate the feeling of genuine emotion and human connection that drew listeners to him and his music on his first album, with his second likely to be just as prosperous.

From infectious single ‘Ego’ and to sobering dream pop song ‘Connect The Dots’, his determination to look for solace beyond right and wrong is palpable. We believe he is riddled with guilt – and that is a testament to Solomon’s talent. By comparison, the second half of ‘Uneasy Laughter’ is almost void of internal conflict, even if it remains melodically accomplished.

So the bleakly beautiful is still there, but the flashes are sporadic.

It’s a record littered with towering pop peaks.

Ogilala is nothing particularly new or revolutionary for fans, more a strong reminder that there’s a reason why Corgan managed to shift millions of units with his brand of moody rock.

Everybody’s Everything is a well-rounded tribute showcasing every aspect of Lil Peep. Not only highlighting an upsetting loss in the music industry but setting the bar for emo-trap; a sound that can often come across as gimmicky, this album exceeds our expectations and is a righteous example of Lil Peep’s art.

It is an album produced on it’s own terms, that should be considered on it’s own terms. Judged as such, 'Human Energy' is a successful document of an artist enjoying his life, his work and more generally his own company.

Their alt.folk stylings are ideal for unwinding to at the end of a long day as it calms and soothes the senses.

Criminally under exposed.

So par for the course, it should come with its own small pencil and scorecard.

A damaged but delightful long-player, then, perfect for fans of Daughter and Camera Obscura.

These are gloriously creative songs.

The whole set comes off like a collection of Future songs--with some Drake verses clumsily tacked on as an afterthought.