While not breaking new sonic ground, the broad brush strokes of nostalgia rarely wilt.

PersonA sees a band stretching their creative wings and expanding their sound far beyond the fireside jammage that created them and becoming a more respectable prospect for it. The sun worshippers have added dashes of shadow and are all the more interesting for it.

Fans may miss Wolf's habitual genre-hopping and eccentricity, but this is mature and compelling stuff. His best so far.

Lo-fi, yet simultaneously gaining glossed strength.

With 17 tracks this album could be expected to take off to somewhere fantastic but, although we stay very much on the same page throughout the duration of the record, the pristine production of A Moment Of Madness is faultless.

There's a clearly dynamism between the couple, resulting in a unified performance and all that lets them down is a weakness in some of the songs, where a greater commercial edge might have initiated more interest. Sophisticated Steel City pop.

Despite sometimes failing to embrace the originality that made its predecessors so popular, it has some exceptional moments.

Often melodically startling, the work contained therein feels close to definitive – if you’ve ever thought to explore their work, but not had the chance, this is the perfect entry point.

Maybe he (and it will be a he) should approach ÷ with more of an open mind, because it’s packed full of tunes that have an undeniable quality and mark the point where Ed Sheeran goes truly stratospheric. It’s less ÷, more conquer.

We are so here for Lauran’s honesty and the way tracks like ‘Mary’ and ‘Jealous’ and ‘90’s Kid’ are anthemic yet personal.

While there are moments where the concept of ‘Parasites and Butterflies’ is stronger than its execution, this is still a stellar outing for Nova Twins, once more establishing themselves as a vital and thrilling voice in the rock scene.

It’s less Nick Drake-y than Lay’s last effort, and it feels more self-assured and hopeful.

The self-described “cowboy gothic” leaves the album’s listening experience in a state of assurance that SPRINTS have not crumbled under the pressure of the success of their first album.

A bold attempt to embrace his contradictions, this is a project held together by the brutal strength of slowthai’s performances.

It retains the witticism and humble poetry that saw him crowned the beloved laureate of Fife, but there’s just a little bit of magic missing.

If ‘WASTELAND’ doesn’t quite match the hype then perhaps that’s due to the impact Brent Faiayz has had across his catalogue. An artist who commands cross-genre respect, his particular brand of R&B has been much-imitated, but never truly bettered.

The best tracks on 'Haram' come together with crooked production that twitches with sharp samples and cuts, and AH’s billy woods and Elucid filling the space with pointed flows.

As a stand-alone album, what Guy-Manuel de Homem-Christo and Thomas Bangalter have created won't sate the disco heads screaming for more club material, however as an accomplished score it can only make a legendary film yet more cherished.

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.

It’s the sound of someone holding a mirror up to themselves, a probing, insightful, often revelatory song cycle that revels in risk-taking.

Hot Pink is an album that knows exactly what it is, and it’s the work of a well-crafted hip pop star with something to prove.

His voice is something of an acquired taste but, this minor caveat aside, The Year Of Hibernation is a genuinely unique debut.

On first listen, this isn’t his certified rap classic but it does signal a turning point. Now, if only Drake could could distill the best parts of his repertoire into a coherent whole.

‘Bubblegum’ is the most creative, well-thought-out and simply fun project to come out of the UK alt-pop scene in quite some time. Biig Piig continues to improve, every release getting her closer and closer to the stratosphere – and even that won’t stop her rise.

An electrifying introduction to the future of the blues.

A noble experiment, ‘Digital Roses Don’t Die’ displays an artist willing to stretch, willing to take risks. He never names the source of his adoration, but the real winners here are Big K.R.I.T.’s fans.

‘Playing Robots’ finds Blake not quite knowing how to juggle all these facets of his personality and throwing them all at the wall. There are flashes of gorgeous phrasing, incredible textures, and welcome experimentation, but the album is also completely all over the place. Still, Blake remains undeniably talented as a singer, songwriter and producer.

Frequently unclassifiable, and never dull, ‘Again’ is a stop-sign on his perpetual onward journey.