Allowing each artist to dominate the tracks in their own way, Girl Unit has curated a project so personal and progressive it’s no wonder he’s made us wait so long.

With echoes of Lou Reed in many of the tracks, including ‘What Makes Him Act So Bad’ and ‘Cigarette Burns Forever’, and faint hints of Green’s previous work with the Peaches in others - ‘Oh Shucks’ - ‘Minor Love’ sees Green marry his roots with the new directions he’s taking, and comparison to the tape recorder fodder of old isn’t so hard make anymore.

It won't be everyone's cup of tea but this could well be a guilty pop pleasure for many.

House music’s fire will never go out. And this pack of rhythmic aces can only help fan its hypnotic flames.

This is the album we've been waiting for, whether we knew it or not.

The opening three tracks are almost an EP in their own right, before a quick reset. Semi title track ‘The Art Of Starting Over’ begins anew, a straight forward bop that gets to the root of Demi’s recovery – her natural talent, her ear for pop magic, affording room for personal renewal.

The entire album is a beautiful assemblage of the ways we hurt, how we fall short, how we rise and how we begin again. There is a captivating dizzying quality when you listen, as if Salvat is transporting us to the inner bindings of his heart. There is inertia and there is quiet in the unraveling of the emotional.

Even as the tracks begin to mesh together a bit, hearing the versatility that AFI has pushed themselves towards is thrilling. Sonically, the looming influences of The Cure, Siouxsie and the Banshees and The Sisters of Mercy trail every chord and drum lick.

Remastered and supplemented it has received a contemporary injection and doesn't feel out of place in today's scene with that Mould influence shining through.

[The music] shows you the lengths he’s still prepared to go, criss-crossing in lo-fi and between human conditions.

Yes, at times it is ungainly and crosses over that line into sheer noise, but it never stays there too long as Giant Swan is all about the tunes, despite all the distressed window dressing.

In ‘Honora’, Flea has found a way to redefine his humble musical roots, far from a vanity project, it’s a deeply considered, richly textured body of work.

‘Beautiful and Brutal Yard‘ sees the Uju Militer remind us why he’s so adored. ‘Intro’ finds Hus sounding rejuvenated and full of new source material.

Bloody marvellous.

Unlike a time-worn relic that loses its lustre, ‘BLACK’!ANTIQUE’ is a curio of mind-melting hip-hop that becomes more corporeal, revealing its magic with every listen.

The band embody the peculiar feeling of in-betweenness – the post-apocalyptic experience of being the only person awake – in a way that feels true to their history whilst scaling new heights.

Remaining difficult to pin down even after several listens, it platforms a true artist whose creativity isn’t about to be hemmed by the marketplace – he’s got higher goals.

‘The Universe Will Take Care of You’ is a delightful album – the melodies are strong, the tones are great and the overall feeling of togetherness and optimism carries on after the album finishes.

While British Road Movies can’t quite match the shock of the new provided by The Long Blondes’ early material, it’s a strong and confident comeback, and better than we’d any right to expect from someone who hasn’t been involved in an album release for over eight years.

Sure to be a hit with the disenfranchised, give the man a single bulb to perform under on stage and fans will be riveted.

Free For All is a debut album from a producer continually finding new perspectives on your favourite sounds.

While ‘Dim Probs’, on initial listens, may not appear the most substantial addition to Rhys’ work, it is nevertheless a relaxed (and relaxing) thing of warm humanity and beauty that, in the long run, may be more durable than much of his more lavish and accessible outputs.

This release feels like she is fully embodying her own skin – this is a release that aims for timelessness in its own right, allowing the true, unfiltered Miley Cyrus to step into the sunlight.

Ultimately, ‘COSPLAY’ is Sorry at their most innovative and impressive, with their strongest songwriting to date. The album has everything the band is loved for, but it’s augmented and heightened.

I genuinely mean that as a compliment: music doesn’t always have to be hard work, and Richter’s latest offering, ‘In A Landscape’, feels like the opposite of work.

Like it or not – I very much do – this is not an artist playing it safe. As on the last album, RAYE is unequivocally at her best when she leans contemporary, in production and subject matter.

Iggy Pop is what it says on the tin and Iggy Pop is what every aspect the music revolves around.

‘That’s How Rumors Get Started’ shows that it’s possible to stay true to the genre but also engage in light touch experimentation and pursue other interests. This is why she is in it for the long haul.