It’s not a full-bore masterwork: the first half of the record packs a stronger punch than the latter. But it’s a more cohesive, complete listen as a result of tighter sequencing. The Ungodly Hour is a soothing salve for a world on fire.

As with the twin EPs that preceded it, however, the glimpses of originality strewn across ‘Lovegaze’ are too often sparse islands in a sea of pleasant but generic etherea.

‘Honey’ pivots between lyrical complexity and spartan, but endlessly pretty arrangements.

All of these stylistic inspirations make AM an invigorating experience.

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

The swagger comes in the form of knowing your strengths and for Stern, she's put all of them on display with Marnie Stern.

Sometimes uniformity is no bad thing at all--when you get the formula right, that is--and Guy and Howard Lawrence prove just that on their debut LP.

As a document of four years of on-off collaboration it is fascinating, and for fans of either artist it's pretty much essential.

Bonito Generation is likely to be the most fun album you’ll hear all year. The production is disarmingly joyous and, thanks to a predilection for early ‘90s dance, some of the tracks here are absolute bangers.

Jardin is also no departure from Garzón-Montano’s first release, 2014’s EP ‘Bishouné: Alma del Huila’, but rather a continuation of theme and sound. Perhaps it is his self-imposed musical exile which has created a sound that some listeners may find repetitive whilst others meaningful in its persistence.

Maybe the product of a transitional period in Rowsell’s life, it’s easy to get lost yourself in the singer’s endearing lyricism.

Open Here is a defiant and impassioned statement in which Field Music prove they have mastered the art of addressing the political and the personal simultaneously. It’s fun, it’s loud, it’s dense. It’s not content with wallowing in the state of things and wants to inspire positive change.

A singular experience, You Will Not Die is a theatrical jewel, the sound of a rich, vital talent moving briskly into the limelight. At times reminiscent of Kate Bush in its sense of performance, ANOHNI in its integrity, or even Marvin Gaye in its soulful, sinewy groove, this is an album to be cherished.

While Live at the Troxy does a good job of trying to capture and recontextualise the Fever Ray live experience, it doesn’t quite pull it off. This is down to trying to capture a 3D, 360 degree experience in mere audio: you get an idea of how good the gig was, but it doesn’t quite do it justice without visuals. However, Dreijer and her vocals – their clarity, and her charisma – are still the stars of the show.

Turn to Clear View, takes everything that made ‘Starting Today’ playful and fun while ramping up the captivating melodies, and guest spots, to create something that feels like an instant classic.

This is a playful project, not afraid to dabble with creativity but also showcasing both Denzel’s lyrical ability and Kenny’s creative dexterity, both artists’ visions. It’s as if they created a glitch in the hip-hop matrix, and one that would be welcome again soon.

Nova Twins’ sound remains 100% homegrown British beefiness. There are many people out there from across the rap-rock spectrum who will despise this album (for reasons both fair and foul), but there are many more who will appreciate the lack of compromise in this rollicking call to arms.

The diverse range of music on offer is second to none, but in certain ways acts as an Achilles heel of the record, the competing genres feel cluttered, never quite firmly settling on a succinct sound. That said, this body of work is strictly feel-good and reinforces the promise behind Duckwrth’s major label debut.

The album really feels like it was years in the making. Somehow the neo-soul-leaning cuts (‘Anywhere’) complement the heavier-set tracks (‘Pusher Man: BWI’) with genius levels of curation.

‘GOLD’ is an album that offers a homely atmosphere whilst questioning the interior of that home. It is wise in its approach – urging the need to face internal dilemmas that have been ignored for far too long.

‘Truth Decay’ is a mixtape You Me At Six have lovingly burned and placed into our open palms. It’s got tracks you’ll love, some you won’t, but there’s an undeniable charm throughout.

‘On Purpose, With Purpose’ shows an artist who continues to be authentic, whilst also realising that at this stage of his career he needs to adapt his style in order to achieve greatness.

Catchier, more stirring than ever, Inhaler have done it again. Only this time they achieve with a new-found trust in their guts, it makes this work stronger. A magnificent move forward.

‘Easier Said Than Done’ hears them at their most refined. There is a refreshing honesty told in the lives personified across the album and, in the world of each song, no story is off-limits.

‘The BPM’ is Sudan Archives’ bravest album to date. Lyrically, she effortlessly sings about love, loss, redemption, mental health issues and, err, 1980s computer games. It’s refreshing to hear someone this comfortable in their own skin unburden themselves like this.

Morning Phase is a return to the lovelorn introspection of 2002’s ‘Sea Change’--in style, if not substance.

This is the music of ritual, an electronic folk chimera of primordial pagan beats, ancient and timeless yet psychedelically futurist.

An electrifying introduction to the future of the blues.