The innate desire of musical exploration of both artists is clear for all to see on Lux Prima; a complex but ultimately rewarding listen.

Across its sixteen tracks, ‘Chromatica’ is entirely over-the-top, but in the best possible way. Every song is an anthem of defiance and empowerment, turned up to 11 and genetically engineered for maximum danceability.

It’s rare that an album is ten years in the making, and honing that much emotion and experience into roughly 41 minutes is a monumental task. Chloe Foy accomplished it.

Sonically and lyrically, Shura is at her most urgent and incisive.

This is electronic music both messy and menacing. Listen if you dare.

‘So Much (For) Stardust’s main takeaway is that the five-year wait was more than worth it and Fall Out Boy are finally back, bigger and better than ever.

This music really doesn't need any window dressing because it's as good a collection of songs as she has put her name to in ten years.

Alternative Light Source is a worthy successor to 'Rhythm & Stealth', not as sparse or hard hitting but brimming with energy, ideas and familiar Leftfield diaphragm-rattling bass.

The first few tracks revel in the heady days of a budding relationship, all stolen kisses and duvet-cloaked promises. But as the seasons flutter by the untenability of their situation gradually dawns on our two lovebirds.

Martha are everything you want a great pop band to be: students of their trade, people with something to say and the vocabulary to do it, a distinctively joyous sound and a grand sense of humour.

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

Lighting Matches isn’t a bad album, but sadly it doesn't excel either.

‘Renaissance’ sees Aluna cementing herself as one of the most exciting artists around with this iconic offering that will inspire dance records for years to come.

Whilst the Spacebomb country-psych-soul style was an unexpected move away from the pop- infused sounds that lingered in ‘Sweet Disarray’ and ‘Emerging Adulthood’, and not all fans will be best pleased by such a sound progression, the heartfelt and at times pitiful lyrics of his ‘Grand Plan’ is a humbling nod at the inevitability of growing up and branching out.

'Chansons d’Ennui Tip-Top' might be the strongest album Cocker has released since his 2006 debut, but that does the dirty on ‘Beyond the Pale’ and ‘Further Complications’. This is an album made with love. Love for the culture of his adopted home, but mostly a love of music in all its forms and styles.

'Ugly Season' is best digested as a whole concept. It demands focus, and if the listener isn't too careful, they'll miss the nuance found in muttered lyrics and a flicker of synth.

‘Sorry I Haven’t Called’, brings out the best dance music has to offer because although Vagabon’s music is soft-indie-pop at its core, she has somehow captured an intrinsically heavenly sphere throughout the twelve tracks, making it the best record to keep a tiny bit of summer inside of us as the autumnal air is taking over the outside world.

It’s an accomplished record that leans into the familiar with flourishes of exciting new textures that make it a constantly engaging listen with plenty to unpack.

Despite its teething issues, ‘Alligator Bites Never Heal’ offers Doechii enough dimension and versatility to cover all the bases, geared towards a spectacular live performance.

Through their ability to find beauty in adversity, Maribou State have created an album that stands as a beacon of resilience and artistry. ‘Hallucinating Love’ is a powerful contender for Album of the Year – a body of work that radiates a perspective on life we too often overlook.

With this 17-tracker, Joshua Idehen and Parment fashion a musical balm in an age of discontent.

‘Forever Ends Someday’ is wonderful – a rich, emotionally vivid experience, an inspired statement from start to finish.

Whatever your feelings around the words, and they are certainly a little clunky at times, this is a musically rich collection that is partly a logical step on from the rattle of 2011’s beautiful ‘Let England Shake’ and also as melodic a rock record as Harvey has released in some time.

An unusual, beguiling collaboration, you hope it’s the first chapter in this duet, and not the last.

With Polar Bear being fully paid-up jazzers, there's more of an understanding and utilisation of dynamics, which add to the pervading mood, yet the overall feeling is one of ennui.

Just bask in The Unseen in Between enigmatic glory.

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.

While it wouldn’t be unfair to say that the best moments generally belong to Barnett, the combined force of the duo produces a piece of work that certainly doesn’t seem like too much a step down from the superb ‘Sometimes I Sit And Think…’ and ‘b’lieve i’m goin down…’ that had us all so captivated back in 2015.