Some of the tracks cry out for a bar or two to be spat over, but when you hear that hollow synth on Teeza’s ‘Rum And Coke’, you’ll be sold on the grime renaissance.

Power drifting through the gears and with cutting-edge in hand, this is a shoe-in contender for house album of the year--clear and distinct, all the way through.

‘April’ might not be as strong as 2016’s ‘Second Love’. The songs are solid but not quite as pristine as its predecessor. However, it’s understated melodies and melancholy laced lyrics still have the power to stop you in your tracks. This feels like third love.

Duchampian yet danceable and nothing short of essential.

Some may say Atwell could have opened up further, but there’s no doubt this is an album of depth which deserves repeat listens and which will be loved by her fans as well as enjoyed by newcomers.

From the delicate orchestral arrangement of ‘Theme Parks’ to the frosty beats of ‘IRL’, the devil is in the detail on this pearl of a debut album.

‘Only You Left’ is another fine record from the Manchester-based trio. It is worth the four-year wait, showing their evolution as a group in that time, building on existing sounds and incorporating an array of different genres while still feeling familiar.

While the sonic compositions across ‘Pain Will Polish Me’ all become familiar, as though riding a common wave, it is Weiss’ storytelling that shines through.

Embracing simple yet infectious lyricism, impressive guitars and folksy harmonies, Starkey has created another unadulterated Americana album in ‘Long Long Road’, carving his name deeper into the hall of fame.

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.

A peculiar but pitch perfect partnership.

Live, Little Dragon are weapons-grade ace. Now they’ve finally got an album to match.

Zaba is blessed with musical facets that will blind you with their splendour.

Much like Villagers’ previous releases, the overriding feeling is of well-crafted, thoughtfully structured songs. The intimacy created by O’Brien’s delicate voice is as ever enhanced by beautifully chosen tonal colours.

Listening to ‘No Gods No Masters’ feels like listening to Garbage again for the very first time, which is a terrifically thrilling prospect.

Everything feels so much more alive, everything so much more stark; Longstreth seems to have emerged from a year-long slumber, and there is no more sleeping in sight.

A peerless left-field masterpiece.

While ‘Leaving for Japan’ is a beautiful, delicate song with something of the Twin Peaks theme, ‘Don’t Follow Me’ and ‘Push On’ show, dal Forno is just as adept at creating drama from sparsely layered atmospherics and a forceful beat.

This fascinating collection of spirited hooks, and deeply heartfelt lyricism, cleverly blends high-tech energetic synths, quick wit, and trippy guitars into something you weren’t quite expecting. Arguably, the result is a much bolder record than his last solo debut ‘Twenty Twenty’.

Much of ‘Dreamstate’ feels shinier than its predecessors, replacing the dingy basement feel with hands-up, festival euphoria.

This latest offering is a finessed folk-rock record to bring a little taste of long summer evening drives to the glacial January gloom.

The songs are a little more distinctive, and they’re crafted a little better.

All the songs are of a similar tempo, tone, and theme. There is little to distinguish them – a bit more diversity wouldn’t have gone amiss. Saying that ‘World Of Hassle’ is pretty fun and has some killer melodies.

Everybody Down might have created a new genre: the album noir.

For all their feel-good, boppy charm, The Orielles have created a truly intelligent indie-pop album with Silver Dollar Moment.

They have created their most youthful album yet; a vibrant record which paints a picture of the near future so vivid it seems convincingly real.

‘Long White Dress’ and ‘Singles Bar’, subject matter made clear from the off, are highlights; the former is mellow and wistful, with a delightfully lilting chorus, while the latter radiates the fatigued disenchantment of somebody lacking motivation in the unfulfilled pursuit of love.

An exhilarating and ambitious collection, it should bring Field Music a deservedly larger audience at last.