The product of producing something so relatable that people find solace where you once only saw pain. Sack off therapy, just stick this on.

Ultimately, ‘The Art of The Lie’ is a perfect distillation of everything one yearns for in John Grant’s music; his golden baritone voice, icy electronic soundscapes, emotive balladry, sumptuous funk and phenomenal diction all remain intact on yet another fabulous album.

Iridescence feels like Brockhampton have regrouped musically to create a great, if not perfect, representation and platform to build on.

Succinct yet packed with information, ‘Now Would Be A Good Time’ finds three musicians who are bold enough to let the pieces fall where they may. Folk Bitch Trio refuse to over-think the arrangements, and this lends their music an understated intensity.

ZUU is an experience that transports the listener to a specific time and place. ZUU is further proof that Denzel Curry is one of hip-hop's most interesting and progressive MCs.

Lyrically ‘All My Heroes Are Cornballs’ feels very stream of consciousness full of political commentary, the concerns of living in American 2019, whilst being engaging, humorous, and informative.

Sleep Well Beast is an album that rewards repeat listens and unfurls its beauty slowly over time: The National have yet again made an album that’s as brilliant as it is ambitious.

With both music and curation straying into increasingly beguiling territories The Lost Tapes is as delightful as it is overwhelming.

A project with literally no skips, ‘Fire’ seems to lay down a marker for his peers – The Bug is back, and the bar has been raised yet again.

The band are effectively building and complexifying their sound to keep things fresh. 'Comfort To Me' sounds like it could be played in a rowdy Australian pub the band are used to – or a colossal arena.

Unsettling at times, with moments of quiet intensity – ‘Geist’ is the vulnerable soundtrack to a person’s self-discovery during a period of long, hard reflection.

We have no right to expect a band to make a record this strong and vital almost three decades into their career. It’s full of piss and vinegar, but it’s full of desire, regret and love, too. Whatever the dismissive album title may tell you, Arab Strap very much still give a fuck.

I See You is perhaps the bravest album of the band’s career, the one laden with the most changes, with the most prolonged journeys into the unexpected. Yet it also feels resolutely like The xx.

As a diary entry, defined by dark nights of the soul and cast in the same bluish-purple hues, ‘Midnights’ offers little of revelatory purpose to those who have yet to succumb to Swift’s charms. For those already swayed by her craft, however, it may reasonably go on to be recognised as her best album to date.

On OCHL they’re keen to take risks, side step that familiar territory and play with the formula. That consistent need to innovate and grow is what makes Deafheaven so divisive, so unpredictable and so extraordinary.

Wistful and plaintive, solemn yet blissful, these are songs from another time - if not another planet - and their mesmerising melodies have the powerful ability to transport you, temporally and spatially, into the band's anachronistic, peaceful, eternal summer.

Every Baroness album before this has featured huge shifts in style, this being the one where they take the best of each to create a propulsive, thrilling whole.

Aromanticism is style over substance, certainly his sentiments run the risk of evading the listening, such is the beauty of the dreamscape he weaves. Yet as you revisit the record, the case for being ‘aromantic’, has never sounded so fully realised, so complete and so utterly inviting.

Le Bon’s finest moments bypass rational analysis in favour of radiant gestures. We should welcome them during these colder days.

Although this first effort can be seen as the bridge between some of her collaborators, such as the projects of Wallows and Dominic Fike, Wolf is in her own universe, creating a new style of artistry that will inspire many others for the years yet to come.

‘Self-Titled’ makes up for its musical instability with Tempest’s sharp penmanship, and it is difficult not to be raptured on their next word.

‘Weirdo’ is as stark, sharply composed and up close to its creator as the photo that adorns its cover.

It’s often difficult for pop-punk bands to bring something new to the table, but in ‘Model Citizen’ Meet Me @ The Altar have completely out done themselves.

Yet beyond this wired mix of post-punk anxiety, splintered techno elements and haunting soul samples, it’s Danny Brown’s rhyming ability that ultimately sees the LP flourish.

Semper Femina matches Laura Marling’s personal quest to unlock facets of her identity echoing with the wider struggle to clear a space for the feminine voice within society itself. With a triumphant new album it seems that this songwriter has found a room of her own.

There’s nothing nostalgic here--it’s the sound of a band reborn, rather than one reformed. And yes, it’s well worth the wait.

This is really an album about empathy, and feels incredibly necessary today.

Smother does exactly what it suggests but with a poetic fragility and an exacting panache that enthrals and entices like never before. An essential album.