The album might be inspired by grey and harsh reality, but it doesn’t go the obvious route with slow-burn and somber-toned tracks. Instead, ‘Pure Luxury’ still remains anthemic and rave-worthy with its vibrant rhythms—the tracks just happen to have deep lyrics.

The sound of a band pushing forwards, ‘Endless Arcade’ points to a bright future for a much-loved institution.

‘Cry Sugar’ may take the cake for dance record of the year; that lighting-in-a-bottle moment we’ve all been waiting for.

‘Joy’All’ finds Jenny Lewis chasing her instincts, working with light and energy. On the closer, she warns “if it ain’t right it’s wrong…” – on ‘Joy’All’ everything feel’s right.

The production is absolutely masterful. The conviction is assured; the weightiest of subjects: that of 'life' and 'death' are tackled and shackled by Zola exper

The party standards are present and correct. ‘Mamma Mia’ is as dizzying good and gay as you’ll get, the aural equivalent of downing three bottles of pink fizz in an Uber with Magic FM, getting pissed with your pals, on the way to the best night of your life. ‘Waterloo’ crashes in on glam-rock drums, a pantomime dame in silver thigh-highs, as she battles and bosses that irresistible chorus. ‘SOS’? Not even going to talk about it. It’s a double-dunt of serotonin; a sure-fire cure for sadness.

Sure, there’s a few lyrical clunkers on show, but taken as whole ‘E3 AF’ finds Dizzee Rascal navigating the perilous landscape of 2020 with remarkable assurance. Few other UK rappers can genuinely say they’re making some of their best work 20 years in the game.

A captivating, at times unexplainable reaching of pained highs and battered lows.

With production by Richard Goettehrer, who has worked with Blondie, the Go-Gos and others, sees the Dum Dum Girls sound achieve an authentic, balanced sound, deliberately lo-fi and tinny yet listenable and intoxicating.

CULTURE may be limited in its scope, but it delivers in spades everything one might have hoped for from “the Beatles of this generation.”

Overall it's a big nostalgic slice of deliciously moreish hip-hop pie.

This is wonderful stuff, haunting neo-folk ballads of a gold standard with undulating saw synths punctuating throughout.

It seems as if Novelist made the album he wanted to make, despite the external pressures, and gave us a project which is sonically, socio-politically and unapologetically grime.

Bouncing with tastefully witty track titles, fizzing synths and mechanic beats, Family Of Aliens perfectly encapsulates the sound of 2018.

With this seventh album the band have managed to craft a hard hitting and forward thinking record that fuses more traditionalist elements of rock with sounds from genres currently dominating cultural conversation.

‘Covers’ feels refreshing and invigorated.

Claud’s ability to create earnest, anecdotal songs ensures ‘Supermodels’ is not just a queer-pop triumph but a universal one.

The record holds a conciliatory anger at a civilisation that can’t save itself from itself. And through an exploration of war, bloodspill, loss and confusion Vera Sola has continued to tell her story, and invite us into her arresting world.

While stepping away from the intimate vulnerability of ‘Snow Angel’, Rapp embraces a bolder pop-star persona, showcasing her Broadway-trained vocals with confident flair.

With ‘Ad Astra’, Ash are reflective yet revitalised, offering a colourful, charismatic, and cosmic offering that’s truly out of this world.

With downtempo, melodic and deep felt emotion coursing through it, this is an accomplished Late Night Tales debut that showcases music that, put simply, makes the soul feel good.

So yes, different to "Made In The Dark" but a more cohesive and more heartfelt effort too. One Life Stand sees Hot Chip let us into their hearts as well as their thoughts.

Refining rather than challenging their boundaries, Fucked Up reconnect with the sounds that first set their pulses racing. Glass Boys is a gloriously savage return.

Clocking in at almost 72 minutes, Sukierae is a bloated, if lulling, listen.

[Gloss Drop] is one of the most startling, visually emotive albums we've heard in years. Vividly audacious.

What will keep you coming back to Film Festival is a profound desire to dissect further, to unpack the lyrical and instrumental proficiency to such a degree you feel so in on the joke that Mike and Paul aren’t just collaborators and flawless music makers to you, they’re friends.

With this, Ghostpoet has created another fantastic, authentic body of work, meeting those high expectations.

At times you wish their sound was edgier, that they'd go in the direction of their zanier peers Hot Chip and BadBadNotGood. Despite that minor criticism, their unique, funky take on pop is rarely less than fascinating.