At just half an hour long, the record skips by in just enough time to take to the dancefloor, take a breath out the side door, and make it back to sweat your stuff to your favourite song.

'Great American Painting' is a record that is strongest for its instrumentation, featuring The Districts' typical cross-streams of guitars that amply lamenting vocals, intriguing listeners by making reference to social issues within America.

If anything, 'Proof' provides context to K-pop’s infiltration into the Western industry and gives reasoning to BTS’ dominance.

It’s a quietly self-assured and immersive album that should mark out and reaffirm Pratt’s singularity.

‘Automatic’ is emotionally-charged and is full of introspection, intelligent songwriting and despite touching on themes like loss and blurred reality is still poetically beautiful as it always is with the Lumineers.

While it doesn’t quite have the same urgency as ‘Based on a T.R.U. Story’ or ’T.R.U. REALigion', Pretty Girls Like Trap Music is perfectly positioned to be a 2017 favourite catering to both fans of this generation’s trap music and those that were knee deep in trap during its late ‘90s/early ‘00s inception.

Throughout the album, a more mature sound can be heard, which reflects their break from recording music, allowing them to evolve as musicians and songwriters on this more mature, risk-taking production.

This is an album that continually surprises. Rarely has the bleak mid-Winter been so inviting.

Running at 16 full-length tracks, Strength of A Woman can seem overindulgent. Songs that are enjoyable in isolation, or as a smaller subset, become either repetitive or forgettable in the context of the whole.

With only one relatively short album used as a basis for the comp, there’s some repetition over the course of the deluxe edition’s tracklist. It’s a relatively small squabble, though, an unavoidable conceptual one. ‘Mixes Of A Lost World’, for the most part, is a varied, refreshing listen.

Those uncharacteristic twist and turns--the hybrid of orchestral arrangements and classic indie pop formulas--give the album cohesion and a narrative despite seeming out of place at first. Still, the LP is testament to the group’s ability to churn out perfectly wrought, desperate pop, time and time again.

A far darker piece than her debut album, this is a downbeat yet profoundly affecting second act.

Hookworms have a huge, infectious energy, best evidenced on the wild organ grooves and ridiculously weighty drumming of ‘Radio Tokyo’, but some of the finest moments come when they adopt a more considered, less-immediate approach.

Their alt.folk stylings are ideal for unwinding to at the end of a long day as it calms and soothes the senses.

Eagle’s skill is in being relatable to the listener, approaching issues that could otherwise be interpreted as controversial with a soft-spoken and melodic flow that never comes off as preachy or aggressive.

Given time, it's enjoyably addictive.

Garden Of Ashes is redolent of a muggy swamp and just as easy to sink into.

Their future is full of possibilities; thankfully they didn’t go before their time after all, as Promise Everything is their best work yet.

Eight immersive and somewhat melancholic numbers that still evoke a great sense of calm. It’s a reflective record, made during a pensive season, British winter.

A fun and colourful indie album full of pop sensibilities, Different Days is a joy from start to finish and is further indication that Tim Burgess and co. show no sign of stopping.

It seems The Aces have achieved their goal however, to escape the indie clichés attached to pop bands using guitars, and have created a fully-fledged pop scorcher.

Mostly, Before We Forgot How To Dream reads a little like a portrait of Bridie's hero Joni Mitchell as a young artist: irreverent, observational and soulful.

Although I would not say that this album breaks boundaries or sparks deep emotional response, it is Fivio's formal introduction to the world with a heavy-hitting drill project which will lead the way for future drill projects globally.

It's upbeat, unusual and accomplished, an Asian rock 'n' roll space odyssey indeed.

This is a powerful reminder of the pair's quite brilliant lunacy.

Dominated by Satomi Matsuzaki's cute vocals, this is might be a laid-back record, but it's still one that's wonderfully challenging.

A bold and confident sixth effort.

The most curious thing about RUFF is how its narrative seems to hint at a band running out of energy and inspiration, and yet the music itself would say otherwise.