Despite the still occasionally underdeveloped, teenage diary-like lyrics, there are glimpses of more comedic moments amongst the angst.

IX is a finely detailed exercise in establishing and exploiting excitement levels, at points telegraphing its trajectory but always delivering substantial payoffs.

Not an unqualified success but worth your consideration.

Whilst there are some bright gems for Jacklin fans interested in her ability to be vulnerable and confessional, there seems to be a whole lot of build-up – and not a lot of climax.

Boxcutter flirts competently with funky house ('Zabriskie Disco'), UKG ('Moon Pupils') and even mid-'80s funk ('TV Troubles'), all showcasing his deft and malleable production styles.

Frothy, neon-soaked entertainment, ‘Future Past’ – when it works – is a blast of ridiculous 80s themed fun.

It can be a little too sterile in places but for the most part, Working Girl shows that Little Boots is a canny operator who, now that she's been given the opportunity to do things on her own terms, has finally shown us what all the fuss was about in the first place.

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.

A weighty 20-track affair, it’s a record peppered with highlights.

The pervasive dreaminess and charm ultimately results in an absorbing debut album.

When Knapp and Pederson get it right, which they mostly do, especially on the first three tracks, it’s a joy to listen to. However, when it doesn’t quite work it can be a bit of a slog. Saying that when it does all come together ‘Fault Lines’ is exceptional and shows that Knapp and Pederson still have plenty to say.

Wyldest writes lyrics that are sparse, but that is not to say that they don’t have bite.

This is an enjoyable blend of ballads (‘58 BPM’), funked-out euphoria and even a satire of dance music pretension (‘Ten Minutes’)

A new listener to Everything Everything may not be fully converted, but the synth-pop twinkles coating this record freshen up their sound.

It bursts with techno beats that jump wildly from deep and dark to bright and euphoric.

A premise so potentially sprawling is over and done with after 35 minutes. As the conduit probably has his next spiritual plain and energy source in mind, it all adds to the enigma.

Like a self-fulfilling prophecy, ‘Moral Panic’ perfectly shape-shifts into its new context in the midst of the current climate. The band achieve another phenomenal album which might have benefited from one or two fewer songs - but nevertheless demonstrates their dramatic range of capabilities with a spattering of radio hits.

Flowers is easily the Icelandic singer’s most accessible, prettiest record to date.

‘SPARK’ reinvents Whitney as a contemporary syndicate of classic pop and their third album is an impressive, bold and contagious body of work that is more candid, emotional and contemplative than ever before.

You can skip the cinematic intro and the uncharacteristically dour ‘Late Night Final’, but for the most part, Inform - Educate - Entertain is fresh and fun.

An easy record to enjoy, but a difficult one to fully evaluate, it presents an artist pursuing vital sense of personal and aesthetic freedom.

Despite the pristine production and supercharged atmosphere, this feels like his most personal set and where the music falls into more predictable territory, it's kept buoyant by Hammond's emotional warmth and his wistful, contemplative lyrics.

Overall, 'S&M2' is a worthy successor to its predecessor, but not without its faults. ... From the outset, it’s clear the recording is sharper and punchier than its 20-year-old counterpart, but with a far less forgiving mix. While before the orchestra and band blended into one digestible wall of noise, at times, it sounds like instruments are competing for room this time around.

While these are only flashes, they help make Corsicana Lemonade a progressive exercise in restraint.

It is unmistakable that this album has been crafted with the consideration of Chloe Moriondo’s distinctive humour making the album an exceedingly fun listen.

It’s great when I’m listening to it, but nothing really jumps out and lodges itself in my brain - perhaps harshly, it all feels like a puddle of slightly warm water where an ice cube used to be.

It has to be said that, considering how Nick Hornby is credited with writing all of the lyrics here, the usual Ben Folds key words are present and there's only so much 'bastard', 'shit' and 'fucking' I can take. Despite this concern, as well as being Folds' most musically accomplished outing since going solo, it does feature the magnificent phrase, "some guy on the net thinks I suck and he should know; he's got his own blog."

Taking inspiration from Al Green, Barry White and D’Angelo, produced with her long-term friend and collaborator Micachu, Tirzah manages to create a warped ‘90s R&B record with a soulful core and enough electronic dissonance for the modern age.