The result of two years of head-down studio time, the Brighton-based producer has laced this debut with heart-racing drums that trip over each other and dark-hued synth rollers.

A commanding and sincerely fascinating listen that stands tall in a catalogue already awash with magic.

Meet The Humans is not just his best solo release to date, but also arguably the finest album in which he has been involved full stop. Capable of moving and energising its audience in equal measure, Mason has refined his art to a remarkable extent.

Although not necessarily pushing boundaries lyrically, Octavian’s appeal lies in the whole package rather than a complex narrative. The raspy flows and melodic groans are at home over the ethereal, bass heavy instrumentals, giving each track a consistent vibe that absorbs multiple elements into a gripping end product.

This open-ended offering brilliantly entices you to extrapolate meaning from it, to attach it to a time and space before letting it fully unfurl.

'Superache' is a definitive evolution for Gray. A matured turn since his debut 'Kid Krow', 'Superache' continues to exemplify Gray's flair for pop bops, but with ripened introspection.

Defying categorisation, 'Fire Doesn’t Grow On Trees' feels simultaneously well-situated in Brian Jonestown Massacre’s expansive discography, while continuing their core ethos of subverting the indie scene, always looking in the opposite direction of the mainstream.

In spite of much of ‘CHARLIE’ missing complexity or a distinctive flair, the album remains punchy and bright and what Puth lacks in poetry, he makes up for with glimpses of pure pop excellence.

Although vibrant and adventurous, the end result is too overcrowded on ‘Silver’ – some trimming, and there’s a classic here.

What ‘Kehlani’s’ self-titled moment lacks in risk or originality, it makes up for in songs that explore the fullness of female/non-binary sexuality.

McCartney produces his most real, immersive, and innovative work, and roles a mellotron in for good measure.

Strike A Match feels like it is racing against itself, a gentle, playful intensity that feels wholly inviting.

Sleaford Mods have managed to express perfectly and effortlessly, what it feels like to live in 21st century Britain and from here, they can only get bigger.

Their astutely crafted synth-pop cements their place as Pet Shop Boys’ spiritual successors.

Ever the showman, Darcy and company have engineered a refreshing return which though softer around the edges than previous Ought releases, is no less gratifying.

His are fragile, beautiful songs floating over warmly alien, sometimes seemingly formless musical structures yet it's an effect borne through unconventional levels of space and patience.

It's clearer now than ever that Earl Sweatshirt doesn't care for your expectations, and that he's at his brilliant best when refusing to cater to them.

As it stands FM! is little more than a placeholder--an interesting but self-indulgent sketch from an artist who could be creating masterpieces.

A great album and a fascinating document undoubtedly, but there’s no need to spend your hard earned on a boxset when the original does everything you need already.

When Knapp and Pederson get it right, which they mostly do, especially on the first three tracks, it’s a joy to listen to. However, when it doesn’t quite work it can be a bit of a slog. Saying that when it does all come together ‘Fault Lines’ is exceptional and shows that Knapp and Pederson still have plenty to say.

Amyl and Sniffers have released the album of the year. .... The record speaks as a journey of a woman finding her own worth whether that be in life, relationships or career, and it’s here to inspire you to do the same.

What follows isn’t a retreat, however, but more of a re-entrenchment, a record that tackles aging, loss, and reconciliation. It's not without surprises.

‘the apple tree under the sea’ isn’t just going to be one of the year’s best debuts, but one of the year’s best records, full stop.

Shadows returns to the lush, meticulously crafted sound of previous albums.

Vivid, colourful, and distinct, 21st century ennui has scarcely sounded so intoxicating.

A celebration of what makes Teenage Fanclub great, it’s a finely balanced LP of under-stated charms. ‘Nothing Lasts Forever’ they say – except, perhaps, for Teenage Fanclub.

All ten tracks, and their accompanying dub allies, have the presence and sound to claim dancehalls by the fistful.

Often moving, and never dull, ‘Secret Measure’ is a softly thrilling return, assured in its place in the world.