Although ‘Present Tense’ leans on the cumulative distance between its collaborators as its primary subject matter, it generates a distinct vacuity within the record.

It’s cinematic and magical and stands as some of Fionn’s most captivating and compelling work to date.

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.

It might not cut as hard and sharp as Van Etten, but her careful lullabies ooze with enough steady sadness that when the light finally does break through, typically via bubbling layers of instrumentation doused in near shoegaze-ready echo, the result really is akin to soaring above the pines.

There are a few misses, however. ’Do The Romp’ is sheer bar room bluster, while ‘Coal Black Mattie’ seems to stray too far into the line of being merely copyist. Yet when it works, it certainly works – potent and atmospheric ‘Delta Kream’ undoubtedly has its heart in the right place, while the core material stands as some of the most addictive elements of modern blues songwriting.

This album as a whole is without doubt greater than the sum of its parts, but it just so happens that those parts comprise one of the most intriguing production collectives in the industry, and arguably the most unique MC that this country has to offer.

This release feels infused with self-assurance and pride, merging know-how and passion with a strong vision that only seems to get bolder with each release.

It is a tremendous debut and the quality is beyond question.

The Russian five-piece move so defiantly through their debut the resulting radiance sings of a group unshackled by their limited means.

Black Rainbow Sound is an album that shows a band in flux. The songs sounds bigger and more articulated. Menace Beach are using a larger musical palate and it mostly works.

While it might not possess the anodyne lyrics of generic chart mush, the similarities are disturbingly discernible. Thankfully, such moments are in the minority.

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.

A group at their preening, pouncing best, ‘Songs For The General Public’ offers a full 360 view of the D’Addario bros. creativity.

Modern music can often be accused of being so predictable and so formulaic that you’d be forgiven for expecting Hakim to churn out a new record without taking a hint of a ghost of a chance – but ‘WILL THIS MAKE ME GOOD’ is a thrilling, timely reminder that true art shines brightest when it emerges from the darkest skies.

In its length and scope, there’s a feeling here of witnessing H.E.R. in 360 – panoramic R&B that more than justifies the wait, a sumptuous, multi-faceted jewel that seems to reveal fresh colour with each play.

Cyrus conveys a jaunting and heartening honesty throughout her lyrics as she reflects on love, guilt, addiction and the business of breaking hearts. In a year shrouded by isolation and starved of social interaction, where individuals have been forced to discover the unexpected joy of solitude, “Plastic hearts” might just be the soundtrack to through this journey as you embark on your very own Rocky-esque beast mode montage of shameless self-empowerment.

The bared teeth and balls that made PABH so loveable in the first place are still splattered all over Blood, but for the first time it sounds like they have a plan.

Luckily her jaw-dropping vocal capabilities are enough to maintain a consistently thrilling album, and it’s this that makes Careless People worth the wait.

By focussing in on softer deployments of electronics and more subtle processing, and staying resolutely in an ambient soundworld, Art In The Age Of Automation does feel comparatively safe; well turned-out and nicely polished, but generally risk-free in execution.

Tycho never loses sight of what he is known for: the skillful mastery of crafting brilliant ambient soundscapes from bare computer programs. And believe it or not, his sound here is that much more captivating.

Overall 'Self-Surgery' bristles with promise rather than complete realisation. As a raw one-off release it’s a breathless listen; the hope is, though, that the duo may return and build on this project in the future.

Whilst there are still shades of James’ jangly indie-pop in parts, this album takes the band into a new sonic adventure where you hear lo-if leanings and pumping club beats.

A hodgepodge LP bound skillfully by the starry-eyed aestheticism he's become so fond of lately.

A step forward in terms of production and vision, but no doubt at quite a personal cost to Lukid.

Mosquito is a much-needed return to the days of ‘Fever To Tell’ and ‘Machine’--it embraces the band’s early, reverb-heavy sound but also tips its hat to the dance feel they’ve been honing in recent years.

Not Real proves a fun set--but whilst you can't help but admire Stealing Sheep for evolving their sound, with a few track tweaks it could have been an evolution which went so much further.

While the comedown is expertly managed, one begins to pine for the glossier touches which Molleson clearly excels at. Nonetheless, it’s an album brimming with vigour and ideas from start to finish, and likely set to be one of the UK’s most engaging debuts this year.

Everywhere ‘the rest’ feels less collaborative than ‘the record,’ and more about celebrating the three of them as friends.