While it may not quite measure up to their very best work, this is still utterly unlike anything else you’ll hear this year.

It's a real labour of love where every track has not only been meticulously thought about and placed, but it's clear that Hopkins has thought tirelessly about how it fits into the wider picture of the collection as a whole.

Crafted to perfection, Silhouette is outstanding in its audible beauty.

Apollonia is for fans of Jamie xx, Tame Impala, and SBTRKT, and all its elements have been combined and thoughtfully arranged in a way that makes sense. A solid debut for Garden City Movement.

Some of the tracks are so light and delicate, you worry they might blow away in the breeze. But the pace occasionally picks up, as on ‘Highway Blue’ which whistles along on a jaunty groove, while a punchy horn section on ‘Good Ol Night’ adds further colour.

Though they might be mellowing in their age, that doesn’t mean to say they’ve compromised an inch, and 'Beneath The Eyrie' proves just that.

The project doesn’t really find the band moving outside their comfort zone – indeed, ‘Candid’ is defined almost by how resolutely ‘Whitney’ it feels.

Despite the few forgettable moments in the middle, ‘Scaled And Icy’ remains mostly strong in terms of sonics and lyricism throughout, and though it does end all too quickly it is an impressively cohesive production that doesn’t reveal even for a single beat that it was the product of long-distance virtual sessions.

‘Heavy Like A Headache’ takes the musical intricacies that The Ninth Wave are cherished for into new territories. Lyrically, this is The Ninth Wave’s strongest album yet – they’ve never been more open about themselves as artists.

‘Invisible Forces’ is a complicated album, but not cluttered. James Heather’s elegant runs, and elegant is the only real word to describe his playing, are thought-provoking and moving. Throughout the pianist delivers emotion-heavy music that is oddly catchy.

This album embodies the 1976 punk sound 50 years on and despite the years, Buzzcocks are still as strong as ever and I can’t wait to hear what they have next in their new era.

The album wears a multitude of influences on its sleeve, containing elements of hip-hop, house, disco and funk, but ultimately there is a distinct lack of variation amongst the thirteen tracks.

While her debut could in places feel slight, this new record feels lived-in, and true.

There’s quiet beauty here.

Littered with hyper-stimulants and the minutiae chaos of modern living, and where Ernest Greene, purveyor of faded daytime psychedelia, once spoke to romantic stasis from his internal landscape of unseen tropics, his diverting third effort sees him taking a heavy blow from reality.

LAHS is the sound of a band in transition. A record where the sunshine is too few and far between. They’ll surely be back on track before long, but for now, we’re going to have to look elsewhere for that aural vitamin D.

Glorious singalong hooks and unashamed sass dominate the debut offering from indie writer Elizabeth Sankey and indie cult-hero Jeremy Warmsley.

Its cleverness and humour burst like springs from an overstuffed rococo couch.

With a plethora of guest spots adding some serious variety to the already sonically multifarious album, hearing Big Boi go back and forth with the likes of Kurupt, Snoop Dogg, Eric Bellinger, and even Adam Levine of Maroon 5, makes it all the more fun.

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.

Refusing to be hemmed in, it’s a record of real ambition, an example mirroring fan-pleasing tendencies with actual artistic growth. Sometimes the sequels really are better.

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 album is intense, emotional, energetic. It feels beautiful to be invited into Harle’s world and the way his mind works.

A strong, engaging return to form, Mechanical Bull is made to ride. Strap in and enjoy.

Sweet Baboo’s gloriously eccentric back catalogue has nevertheless often hinted at the capacity to deliver a truly special record: a glorious, emphatic collection of songs showcasing his truly affecting vocal and knack for ridiculously insistent hooks. No further hints are required for, with The Boombox Ballads, Black has got there.

Utilizing much fuller and considerably more electronic arrangements this time around, the album is uplifting and hopeful, though no less poignant; the tender self-evaluation of "What I Have To Offer" providing one of many particularly sweet moments.

‘How Did I Get Here?’ finds its strength in cohesion, shaped by an artist confident enough to sit with complexity rather than rush toward resolution, and who understands that growth can be quiet, deliberate, and deeply personal.

It’s a fun record, and as adventurous as we’ve come to expect from Planningtorock.