Anna Burch fills ‘If You’re Dreaming’ with deft allusions, enhancing her voice with jazz-tinged chords, soft rock blemishes, and singer-songwriter tropes. It’s all handled with her customary grace, however, resulting in a subtle record that gently overwhelms.

Dedicated is a joyride of anthemic melodies and fist-pumping bangers that see Jepsen at the top of her game. Revolving in a shimmering cloud of ‘80s synth, bouncy bass and progressive percussion, she has certified herself as a serious contender in the pop arena.

With Johnny Marr-Esque riffs, life-affirming lyrics that have a sincerity, depth, and wisdom beyond their years, the Lathums are cementing themselves as one of the UK’s top bands.

Truly, an album to savour.

‘Aporia’ certainly asks a degree of patience from its listener – the kind often reserved for previously-existing fans of Stevens – to realise its full potential, but over the last few decades the number of listeners able to give this patience has grown exponentially, just in time for Stevens to push boundaries that bit further once again.

The LA foursome’s second LP, Warpaint, is as devastatingly brooding as ever.

While the music loses nothing in its thrilling Afro-electro rhythms and horn flecked grooves, this time it’s delivered with an increased universality as Ibibio Sound System broaden out their lyrical approach to be more direct and questioning, addressing their own community as well as the world at large.

What’s remarkable about this seven track mixtape is the sheer consistency of pop ideas on offer.

“The power of conceptualising who you are has really informed this album,” Owens states about Inner Song‘s essence, and her second album executes it perfectly. This album is an eye-opening discovery of self, laid bare for all to see.

It’s METZ’s most confident record so far and a deafening reminder that art wasn’t designed to adhere to paint-by-numbers standards – it’s meant to bend until it breaks into something new.

An ever present Gang of Four musical demeanor, and the untiring pace of Fugazi makes 'The Chaos' quite aptly relentless.

The sound of a band resurgent, ‘Night Network’ will have you falling in love with The Cribs all over again. Tapping into their core sounds and core values, it finds the band emerging from their legal troubles triumphant, relishing the vitality of being able to make music together, in the same room, at the same time.

‘Give Me The Future’ achieves everything a pop album should and stands out as Bastille’s best and most expansive work. The narrative is compelling and successfully paints the picture of a universally relatable topic.

The familiar sparse, shrugging guitar touches return, sounding no less beguiling than they did three years ago, but the craft has improved. Where 'xx' traded on a certain naïve charm, 'Coexist' is a meticulously controlled aural environment.

Imperfect, but still as absolutely bloody essential as the best of Fugazi always was.

In forty minutes, the band not only reminds listeners why they became scene heroes but also why they’re one of the UK’s most thrilling exports. For our money, it’s another home-run of a record.

What we needed to decipher from this album was whether Miles Kane was capable of anything audacious, anything unexpected, complex and constructed. Colour Of The Trap displays this on numerous occasions, unrelenting in its boasts of adventurous and candid variation.

Both essential and influential, get these tracks loaded into your spastic dance moves.

Delivered in a soft whisper, with the most minimal of supporting musical infrastructure compared to its studio counterpart, ['Distant Sky'] is immediately tender and transcendent, but devoid of all hope, the addition of Danish soprano singer Else Torp's stirring vocal enough to render even the hardest-hearted individual a bawling mess.

Throughout a collection of moving gems that have the potential to evoke heartbreak, ‘Nobody’s Home’ also houses contagious jams that speak to Bakar’s take on the infectious nature of indie rock.

As with any Harvey project, the musicianship is of the highest, yet understated, order.

A record packed with solitary voices, the New Yorkers seem to amplify their ability to capture the beauty in melancholy, stripping back the paint of the everyday to reveal the extraordinary underneath.

A project that outstrips most of his peers, ‘Intruder’ offers a stark and impassioned vision of our society – one that could well rank as his most complete project to date.

This is a debut that is hard to describe and that works in its favour, it is a fascinating listen that defies categorisation but never derails.

A quality accompaniment and memorial.

Yes, there are 'Did she really do that?' moments... But'MDNA' is mostly filled with moments when listening to Madonna still feels like the most thrilling thing any pop fan could possibly hope to experience.

The sound of bliss.

A helter-skelter ride through extra-dimensional sonics, ‘Wilds’ is an exhilarating return, The Soundcarriers’ lengthy absence simply making their return all the more potent.