Loma is an interesting concoction, but one that doesn't always necessarily gel. It's undoubtedly a lovingly produced set of tracks, filled with an almost tangible level of texture, but the songs often don't match their treatment.

Oh My God is Kevin Morby’s attempt at crafting his own post-modern American Songbook. The sound of a succinct vision--executed precisely as intended.

‘Fake It Flowers’ is a starting statement that runs on unmitigated confidence, a revealing, enthralling, enchanting debut record, one that finally finds beabadoobee throwing open the gates and letting the world into her life. It’s a joy to behold.

Greep’s love of music – from Brazilian legends Egberto Gismonti and Naná Vasconcelos to the avant-rock ventures of his former band and Brixton brethren – strikes out of the album with an incredible force.

The overstuffed nature of its production choices means that ‘God Save The Gun’ perhaps lacks some of the raw, impactful lucidity of the band’s debut, but it nonetheless overflows with singular, soaring and soulful energy.

A transitional work that finds the songwriter operating with a subtle sense of evolution, it’s the sound of a supremely gifted young artist finding space to stop, and ask: what not…?

‘To Love Is To Live’ is a sonic poltergeist with sentiment to boot.

‘Screen Violence’ is so striking it makes 2018’s ‘Love Is Dead’ seem almost blasé in its deliverance.

There’s a lack of precision, with a flabby middle section finding ‘Begin To Begin’, for example, looping aimlessly. Yet when it hits home, Reality Testing more than justifies Lone’s tag as one of the most flexible, dextrous producers in the game.

Amyl and the Sniffers is a thumping, screaming, wailing magnet for misfits, losers, and outcasts, a clarion call for rejects and mis-shapes that is also an obscenely, outrageously good time.

It embraces you like a hug from a friend you haven’t seen for a while. Musically Ellis has created understated gossamer soundscapes that emphasise the emotions of the poems but don't draw the attention from Faithfull’s voice.

A searing, soul-searching jewel.

Fin is one record in conversation with the others--a new model of creativity and one that has produced, at the very least, an excellent piece of work.

Lorn builds winning improvements on an already victorious formula of boom-bap nightmares gone crypt walking.

Having listened from beginning to end scores of times, it always retains its singular charm.

Apocalyptic, transcendental and drenched in a sense of pure epic-ness, here we get that wonderful rarity of a soundtrack that doesn’t just match the artist’s usual output but one that stands as some of its best. Grab your space boots and take the ride.

There is some measure of repetition throughout the album, with that constant beat keeping you on the move. But Twin Atlantic have produced an album of unashamed anthems and it doesn’t disappoint.

As a whole the LP’s similar tempos and approach cause the whole thing to float by like a long-lost memory, nice when you’ve clasped on to it but soon it’ll be running through your fingers and out of sight.

Bold, speculative and profound Impressions is a vital reminder that although we may keep moving forward and putting the negatives behind us, they should never be forgotten.

While Harmony Of Difference will delight jazz fans, it is a truly incredible record irrespective of genre. If you are capable of feeling, you will find much to love here.

A record that focuses on fleeting glimpses, on liminal evenings and burgeoning mornings, it’s imbued with sublime melodic flair and a lingering atmosphere that echoes after the final note has been plucked gracefully from Bibio’s well-served guitar.

With ‘Hell Is Here’, HIDE have shown that a quick trip to the dark side might not actually be a laugh, but it can be somewhat enjoyable, as long as you don’t mind the static.

In totality this album will leave you in a pool of your own unraveling. Margaret’s ambient soundscapes invite us to pour into those caverns of ourselves. She bravely lingers between the waning and waxing of duality: beauty, pain, suffering and light.

Ultimately, ‘Introducing...’ thrives because of how natural it feels – a record as authentic as the dust on Dan Auerbach’s control booth, it places Aaron Frazer as a golden-voiced embodiment of this modern soul age.

‘Assembly’ is so much more than a generic ‘best of’, it is a celebration of Joe’s musical genius.

A kind of blue eyed soul take on the Basement Tapes, ‘Fat Pop (Volume 1)’ stands as further testimony to Paul Weller’s disregard for the expectations laid upon him.

Oddly, ‘Butterfly 3000’ shines brightest not through its movement but its precise arrangements. ... On those occasions where King Gizzard fully embraces the groove, however, ‘Butterfly 3000’ is a real treat.

'W' sees Boris fully exploring the lighter side of their sound. ... But the delicate beauty of these moments is magnified when Boris push themselves to the other extreme.