It is a coming-of-age record that evidences Abbie’s musical and personal growth and announces her as one of the country’s most exciting new indie pop songwriters.

The diverging styles can at times be overbearing but there is a sense of freshness and bold shifts that is hard not to appreciate and it will be interesting to see how their style evolves.

‘SMILE! :D’ is a personal album with nostalgic sounds and is more chaotic than cohesive, which seems intentional in order to reflect Porter’s ranging emotions. This cathartic album is some of his best work yet.

Overall, ‘ASK THAT GOD’, is a journey in every sense providing enough density and style changes to keep listeners intrigued to the very end.

Even with its compact 10 tracks, however, not everything here connects. ‘Think U The Shit (Fart)’ is juvenile in a manner she feels beneath her; the way ‘Gimmie A Light’ crunches that Sean Paul sample feels a little naff – at least until the production cranks it up a notch. There’s enough here, however, to display why so much attention is place on her name.

With his trademark pliability anchored deep beneath the surface, he is able to swerve from garage blues (“A_01,” tentatively) to glimpses of the Raconteurs (“A_03”) to electric folk (“B_02”) with a coherence few can replicate.

‘STARFACE’ has the confidence of an artist with far more renown like (dare I say!) Bowie or Prince. There isn’t much filler here, as each song leaps into 4D with a psychedelic, soulful soundscape that’ll take you to space.

‘HEAVY JELLY’ is wilder, faster, heavier, more frenetic, and downright hilarious that anything they’ve done together before. Both cartoonish and extreme, it’s a cycle of songs that are both heavy duty and utterly ridiculous.

‘I Love You So F***ing Much’ is a bold return from Glass Animals, at times it feels that the concept slightly overpowers the album, but overall it’s a confident and well-crafted album that feels like it could be front and centre of an eclectic sci-fi soundtrack from the eighties.

All Hell’ is the quintessential Los Campesinos! album. Big, bold and brash, whilst at the same time succeeding in retaining the band’s politics and indeed their humility. .... The band have bared their guts once again, and never, ever has it sounded so good.

This record feels like the perfect summation of Childish Gambino’s always-on, internet-driven data-overload experimentation. It’s a work of maturity and vision, out-pacing his peers to deliver something vital, and true to himself.

Distinct from his 2022 debut ‘Rave & Roses’, this feels uncompromising, and new. ‘HEIS’ is the work of an artist emboldened, and undimmed.

Finely sculpted and perfectly executed, ‘The Auditorium Vol. 1’ finds Common and Pete Rock utilising experience to their advantage. Creating a storm on its release, the perfectly executed roll-out trod the line between fan-service and expertly distilled creativity.

‘Nothing or Something to Die For’ isn’t an easy listen. This isn’t an album to shuffle into any old playlist. ‘Nothing or Something to Die For’ demands your full attention and doesn’t want to hear your excuses. It’s also not going to be for everyone, but it knows that.

Without a single skip, Cat Burns was able to make a record far greater than what could’ve ever been expected. Yes, it has the impeccable blend of her strong voice, brightly produced ideas, and perfectly curated hits, but it somehow also allowed her to be the voice of a generation.

‘The Death Of Slim Shady (Coup de Grace)’ doesn’t quite feel like an ending, but neither does it feel like a continuation. A mixed, often muddled album, it features some of Eminem’s best rapping in a decade – those fast, skippy-yet-intricate flows will never fail to thrill – but his pen is often blunted. It’s at once an effective piece of fan service, while also being a record that disappoints.

This is a pop album with built-in replay value, a work of real depth.

Short and to the point, ‘L.A. Times’ is a succinct example of Travis’ musicality. A mixed bag, it’s held together by feverish energy, and some of the band’s mainstays – the emotional curiosity, the willingness to think outside the box, and those empathetic vocals. A real charmer.

You could argue that ‘X’s’ is Cigarette After Sex’s most consistent album of the three released so far. While the Texan band deliver their famed reverbed sound, similar lustful lyrics and reveal little desire to move the dial, the overall standard – more so when comparing each record’s weaker moments – is far raised.

The invisible presence of Donna Summer, Aretha Franklin, Nina Simone, Diana Ross, and other goliaths of the so-called Motown sound is felt in every track here, in every scratch of the tape. Yet, Cottrill managed to completely rebuild these genres for herself, almost inventing a new one.

Put together, the disparate elements that make up ‘My Light, My Destroyer’ may betray the occasional influence, but combine to produce a singular world – one that is, at points, both deadly serious and funny, but always habitable.

If 2022 album ‘The Alchemist’s Euphoria’ represented a clearing of the decks, a shake-up from top to the bottom, then ‘Happenings’ continues this process. As times, it feels as though you’re caught in a snow-globe, being shaken up and down, from side to side – watching the pieces fall is a thrilling experience.

There’s no denying, though, that ‘LOOM’ does feel slight. In the era of weighty releases profiled for streaming audiences a mere 10 tracks does seem underwhelming – one song is actually repeated twice, but with added J Balvin for more impact. Far from a disaster, it’s an album that dares to be succinct, but also feels blunt.

With the success of his previous albums, Apollo could have easily stayed in the mainstream bedroom-pop genre, but the vulnerability and experimentation displayed on this album makes for an impressive, mature step forward in his career.

‘Bad Cameo’ rightly shines light on the craft, a soothing, extremely subtle song cycle that needs time for its labyrinth to be solved.

It’s a time capsule of how Cash was feeling in the early nineties and is a reminder of his immense talents as both a singer and a songwriter and serves as a poignant and career-defining moment of the Man in Black’s enduring musical legacy.

‘C,XOXO’ isn’t Cabello’s brat moment. A lack of refinement and direction is the burning issue at play here, but she has succeeded in making an inherently fun record.

At times it feels like Martin and Kamaru aren’t just making new music, but they’re trying to invent a new musical language. This is an album to connect with, on every level. Miss at your peril.