Confident throughout, there’s a sense of Edwyn matching his incredible wealth of experience to the joy of music-making.

Suffused with an indefinable sense of melancholy, the likes of ‘I Can Change’, ‘Home’ and ‘Dance Yrself Clean’ instil the rubbery electro with a tangible soul - whilst ‘Drunk Girls’ delivers a giddy hit of bony post-punk.

Though undoubtedly a beautiful set of tracks, Once Twice Melody suffers from its length – almost eighty-five minutes is hefty for a listen in one sitting – and the occasional clashes in instrumentation and vocals, with sequenced drums and synthesisers taking away from the warmth of Legrand’s voice.

There is so much to unpack that it will reward plenty of listens and be on repeat on many stereos over the summer. This is musical joy captured in a record one of the group’s strongest works to date.

For those seeking solace, joy, or pure emotional catharsis, Jamie xx has delivered a masterpiece that will linger long after the last beat fades.

‘Humanhood’ is the most full-throated creation from The Weather Station to date. The relief is that they still have something really worth saying, which makes the album an early yardstick for all the releases to follow across the rest of the year.

Unpredictable it may be. Biffy Clyro it definitely is, and its uplifting and optimism hook the perfect catharsis for a year that’s been nothing short of terrible.

Where once the band may have occasionally caught your ear, these songs command attention throughout.

Wistful and wise, ‘Twin Heavy’ offers a portrait of the young man as a record collector. With his magpie-like eye for treasure and eagerness to share, Willie J Healey has conjured something special.

Sleigh Bells' novelty though, lies in a tingling barrage of granular guitar distortion and overdriven, over-compressed girl-pop squall.

Essentially, it’s rock’n’roll at full pelt; Bob Mould doing what Bob Mould has always done best.

Wonderfully engaging from the first line of opener ‘Our Girl’, this cracking debut mirrors the nuanced nature of modern life with equal parts noise and softness.

This set of tracks will stand with their most masterful.

The human condition and thus society is complex and difficult to navigate but Sprints have not been afraid to express uncertainty and vulnerability. And all the while they have enveloped these themes in the most glorious noise for us all to find comfort and lose ourselves in. Is it possible to have an album of the year contender on only the first week in? Of course it is.

Sabrina has created a bold body of work, exciting and unfiltered, as she navigates the highs and lows of her life up to this point.

Transcendental trance with some fierce poetry and song? Colour us impressed.

Let Them Eat Chaos is engaging and at only 48 minutes it doesn't outstay its welcome. Tempest seems to relish the challenge of delivering a concise but complex story over a compelling variety of instrumentals.

Altogether, 'Mood Valiant' is a joyous, frolicking ode to renewed life. It signals a strong return for Hiatus Kaiyote.

Dust is divisive and at times challenging. Yet, in Halo’s restless experimentalism we find moments of unexpected beauty.

While the duo may have expanded their sonic palette, it’s Alice Merida Richards' distinctive vocals that give the record depth and weight.

Whether performing the fabulously jaunty ‘Man Is An Animal’ or the vituperative anger of the title track, Knox is a truly compelling presence.

Michelle Zauner’s most mature offering to date, and one that grows on you with every listen. This is a record to get lost in, an album to soundtrack your moments of reflection. Bewitching, bold and most importantly fresh territory.

A fascinating return, ‘Bolted’ is often greyscale in tone and shading; rolling back the physicality of ‘Compassion’, it seems to find Forest Swords revelling in a more minimalist, yet also profoundly empathetic space.

Overall No Shape sees a new exciting chapter for Perfume Genius, one that’s happy to fully throw off the image of the tortured artist for brighter, bolder entity. The future looks a little brighter.

It’s a statement of intent from Billy Nomates, unbalancing sonic scales and weaving this into a force to be reckoned with.

Spine-tinglingly brilliant.

While it isn’t as immediate as ‘Everybody Down’ or as viscerally brutal as ‘Brand New Ancients’, there is a new maturity here. Tempest is baring her soul, and scars, for the world to see – she doesn’t need to rage to get her point across. There is a powerful understatement to this album that yields more secrets with every listen.

If you could see sounds as colours, a la synathaesia, this entire album would be a kaleidoscope of audio-visual, acid-trip imagery.