Framed by ‘THE LIGHT’, the record is cohesive, punchy, and succinct.

Intended settings aside, Song For Alpha demands repeated listening, finding its place oscillating between the ecstasy and dejection of experience.

Kevin Abstract’s newest studio album continues to assert him as one of the greatest talents of this generation, an individual who eliminates conformity and remains earnest and candid, regardless of the sonic environment he visits.

Arresting, yet often unexpected, ‘Fairweather Friend’ pilfers from the indie pop lineage, while daring to stamp out a unique identity of its own.

Wise’s third record is a glossy-smooth addition to a stellar discography, oozing with infectious melodies, tempered production and lashes of sex appeal.

Thoughtful, innovative, and reflective, ‘Songs Of An Unknown Tongue’ is a special record, one that offers up questions and revelations in equal measure.

Slimmed down to forty minutes split between ten tracks, Apple has the feel of one cohesive whole when compared to 7G’s daunting monolith.

She creates movement with her lyricism, an intense wave of feeling that brings you in and out constantly.

The record feels slick and polished, yet natural and unnatural. Like Grimes’ previous music, it’s a scary, ambient, and muddlingly beautiful mess.

Feeling distinct from his broader catalogue, ‘Balloonerism’ equally tethers itself to other points in Mac’s work. There’s a sense of cohesion here, and a consistency of quality that highlights the intent that Mac Miller had for this project.

This is a beautifully blissed-out record, coloured by minimal rhythms and Lewis Rainsbury’s isolated vocals.

Featuring savage and often heartfelt, diary-like ruminations, CTRL pushes against the borders of convention lyrically and sonically, placing it on the upper echelons of potential ‘Best Of ’17’ lists.

For My Crimes is a glorious album that demands to repeat listens to try and work out the hidden meanings of its songs and stories. As the nights are drawing in, pull the curtains, dim the lights and give yourself to its country gothic charm.

Yazmin Lacey’s curatorial skill sits alongside her painterly-like vocals, resulting in a bold, and emphatic album project.

Closing on a magnificent note, it pulls together the threads on this incredible tapestry of work, a complex but warming achievement, one that feels just right to pull around your shoulders on these cold winter days.

‘Learning How To Live And Let Go’ is a beautiful culmination in the XCERTS’ career.

The Union is a mutual display of affection from both sides - Elton and Bernie's nostalgic tales are infused with gospel, rollicking country and rock 'n' roll, while Leon's croaky voice adds southern authenticity.

Designer is a striking return, pursuing solitary aesthetic goals in a fashion both unrelenting and admirable. It perhaps lacks a little of the indefinable magic that made 2017’s ‘Party’ such a gripping experience, but in its ability to conjure bold, riveting songwriting it underlines Aldous Harding’s position as a truly remarkable artist.

At times, ‘Only Built For Infinity Links’ leans too heavily on the past, and comes close to being simply Migos without Offset – as opposed to a project with its own taste and flavours. At its best, though, the record more than justifies the excitement – the post-Migos landscape is looking very inviting indeed.

‘Fulton’ and ‘Morning River’ are early highlights, while ‘Circuit Rider’ seems to exude the characteristics of the album’s Los Angeles setting. Closing with the reflective ‘Ever Feel That Way’, Steve Gunn marvels with the lightest of touches.

For the most part, the record warrants its own expansiveness as themes of self-doubt, isolation and faith slowly supernova among dazzling ambient instrumentals, careening string sections and Sufjan’s warped vocals that bring harmony, hope and futurism to the cold, dense expanse of space.

Ripe with subtle nuance, Fading Lines is an exquisite debut. Seemingly simple yet running far deeper than cursory listens reveal, it’s a record that sticks with you long after the closing notes of the aptly titled ‘White Fuzz’ fade out.

Clocking in at less than 33 minutes to ensure your left gagging for more, Sweet Heart Rodeo is a near faultless blend of Landes’ country roots and the urban savvy of her Brooklyn base.

There is a distinctive confidence as Rachel Brown and Nate Amos weave nu-metal backbeat, indie guitar twang, piano motifs and deadpan vocals together.

While Indigo is no groundbreaker, it’s exciting for an album with so much nostalgia to sound as fresh and pristine as this.

With its mixture of wonky psych, fiery funk, and jazzy jams, this may stand as the label's most eclectic and enjoyable compilation of the year. If you love to groove, look no further than this set of scorching songs to keep you moving during the dark, cold nights.

Shorn of its visuals, ‘Shadow Kingdom’ remains a fascinating listen. .... Facing down his past, he comes close to eclipsing it, and offers magnificent proof of his continued vitality as a performing artist.

A marvellous new set, then, that only develops its makers’ already enviable reputation.