Towards the end of the album, tracks threaten to meld into each other, making for one big visceral haze of love-lamenting. But beat seekers should find their bag on dynamic tracks like ‘Florida!!!’, a thumping, bewitching collaboration with Florence + The Machine, ‘Who’s Afraid of Little Old Me?,’ and triumphantly-erupting, more optimistic ‘I Can Do It With A Broken Heart.’

Tallulah is classic Feeder, and it is hard to think of anything more fitting for a 10th album.

‘Saving Grace’ is intimate, emotional and transcendental, a warm mosaic of blues, alt-country and folk storytelling that reawakens the spirit of roots music that has been sympathetically reimagined through the clarity of a modern lens.

She has developed her own world over the last few years, this record feeling like the grand opening; the musical renegade uses this sonic landscape to release feelings of sorrow and doubt and anger, culminating in a truly vivid and innovative record.

Again Future marshals the glittering soundscapes expertly, his tuneful flow reining in the beats while imbuing all the fragility, heartsickness and aggression that make it the most impressive instrument in rap right now.

It’s immersive and ambiguous, these tales belong to you as much as they do the person next to you on the train.

In short, it’s a low-key gem.

Unpredictably diverse and unexpectedly personal, this album sees Bugg managing to maintain the relatable style which won him so many fans in the first place, while taking the necessary risks that allow him to grow as an artist.

The main takeaway from ‘Dawn Of Chromatica’ however is Gaga’s curatorial ability, and the even strength of talent on display. Capable of moving from Ashnikko’s playful digitalism through to the ballroom energy of the Jimmy Edgar and Bree Runway take on ‘Babylon’, it’s a relentlessly entertaining display.

It is a bewitching, beautiful album, with no two songs alike.

This is a clear transition from her work with brother Angus, allowing her individual expression, resulting in a work of true depth and emotion.

A wonderful, worthy follow-up.

The career-spanning retrospective Alone and Unreal: The Best of the Clientele serves as a potent reminder of just how discreetly revelatory the group's primary method of operation has always been.

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.

‘Sorry I Haven’t Called’, brings out the best dance music has to offer because although Vagabon’s music is soft-indie-pop at its core, she has somehow captured an intrinsically heavenly sphere throughout the twelve tracks, making it the best record to keep a tiny bit of summer inside of us as the autumnal air is taking over the outside world.

Always respectful of the traditions from which they emerge, Steve Gunn and the Black Twig Pickers are happy to less these sounds evolve exponentially into stunning, unforeseen vistas. A real gem.

Eleven years on from her debut, TORRES’ songwriting remains as infatuating as ever.

His third is a fun yet wonderfully composed record that sounds radically different to what he’s produced before. If a little odd at points with a dialling down of immediacy, patience is required to fully appreciate the pay-off.

A project that demands to be listened to in one sitting, there is an immersive quality across the tracklist that instantly strikes through. Each track is submerged in a nocturnal wash of acoustics, playful in its use of distance, textures and melody.

Amid the deferential nods, Mazes exude vigour and vibrancy.

Undeniably impressive, ‘Three’ neatly frames the wondrous aspects of Four Tet’s work. It doesn’t move beyond the landscapes fans will be familiar with, choosing instead to embrace a more understated pursuit of evolution. For those in search of electronic beauty, however, few albums will be more radiant or rewarding.

Lucrecia Dalt might not think about hit-making, but through her exploration of love and transcendence, she eventually created something strange and eerie, yet surprisingly close to a pop album — with weirdly catchy melodies that tempt you to either dance or hide under the bed — the very thing music critics with their radars on may be looking for.

Marks to Prove It is the most cohesive offering from the Maccabees to date.

While the album is pretty much removed from her usual major pop moments, it’s more refreshing that way, and there’s more of a connective-unit feel to Positions than much of her previous work. After all, Grande has always been an album artist, and this one is yet another to whistle home about.

For this project Ben Cohen has taken the vocal outtakes and sketches and has crafted wonderfully rich and vibrant music around them. Is it what Leonard would have wanted? We’ll never know, but it doesn’t sound out of place in his rich canon of work, which is the important thing. Long-term fans will revel in another chance to lap up his wisdom and that captivated audiences for almost 50 years.

Pop classicists with a heart of gold, Sparks are busy out-pacing the copyists, and reminding us all exactly why they remain so beloved.

With a mix of frantic and scrappy pop songs alongside blankets of processed peacefulness Contra is a fun and always intriguing listen.

[Here shows] a true progression without losing any of the magic that made their first album such a breath of fresh air. Simply superb.