It’s surprising, but oddly delightful.

Plays it safe, doubling down on the formula that made his debut so beloved by fans, while making only subtle changes.

Often moving, and never dull, ‘Secret Measure’ is a softly thrilling return, assured in its place in the world.

This is a body of work which highlights his famed vocals, feels perfectly produced and guides listeners through the hazy uncertainty of love and loss whilst still offering something fresh and clean.

Though ‘Everything Harmony’ may be a pastiche, the band carried it past the point of mere replica and into its own identity. It’s resonant in modern times; a dreamlike escape from the electronic clamour and constant buzz that can drain one’s spirit.

Brilliant – if overdue – debut album. ... Welcome to Alison Goldfrapp’s paradisiacal, tempting, thrilling vision of the sublime.

‘Good Lies’ displays the strength of brotherhood, solidifying their position within the scene by cherishing childhood’s sweetness.

‘Hard Cold Fire’ represents a much wanted return from the band that seem more unstoppable than ever, and quite rightly so.

SBTRKT’s signature sound, which defies genre boundaries and pushes the boundaries of popular music, continues to shine on ‘The Rat Road’.

Largely shorn of the gloss which took him to stratospheric heights, it’s little more than man and guitar. The results are affecting, but – and this remains Ed Sheeran, after all – not devoid of schmaltz.

A project that stands on its own, a work of engaging individuality, ‘Jackman.’ is his best, most in-depth album yet. Literate, experimental, and emphatically rebellious, it’s the sound of Jack Harlow operating on his own glorious terms.

‘Driving Just to Drive’ drives safely. Perhaps too safely. We may yearn for Maltese to put his foot down, but it could be argued there is solace in safety. Not everything has to be hell for leather.

This notable departure from the dancefloor not only brings fans of her previous music and live sets along for the ride, but also wholeheartedly welcomes those who might never have set foot in the club.

Tiny Ruins’ effortlessly stunning lyricism and creative cohesiveness mean that ‘Ceremony’ does in fact hit the mark from start to finish.

Finessed and unified, ‘Enigmatic Society’ is magnificent, a micro-masterpiece that refuses to be pigeonholed. Free-thinking yet direct, it’s a salute to collaborative art, and the geniuses behind it.

A carefully sculpted project, a level of fluidity and richness stitched together with the highest calibre of performance, production and songwriting. Like Frankenstein and his monster, the commitment to the design and blueprint of this record is incredible; every minute detail, sound, glitch, has been selected with the utmost care by The National.

This record sees Ware set herself free of any inhibitions and demand her listeners to follow suit. Ware’s vocals show the breadth and strength of their ability; dancing across ranges and depth, from delicate, whispered notes to soaring falsetto.

It all combines to create a record that asserts Horn as an incredible and innovative talent both within the folds of folk and also at the forefront of the genre.

There are some very distinct new heights on ‘Variables’. ... ‘Variables’ gently pushes Alfa Mist in a newer direction, there are glimpses of his usual evocative and bassy tones, but overall the project is almost absent of his vocal presence. This comes across as a very considered move, however, indicative of a need to show rather than tell this time.

The future, past and present is Enter Shikari’s, restructuring the sheer meaning of creativity with another commanding album.

One of the best albums Everything But The Girl have put their name against. A rich, atmospheric song cycle, it has the emotional heft of The Blue Nile and the production nous of Massive Attack. In the end, it could only be Everything But The Girl.

‘Drunk On A Flight’ strikes the perfect balance between up-beat, angsty pop and more contemplative jazz ballads. It marks a distinctive shift in Eloise’s songwriting, simultaneously maintaining the timeless charm of her early music that made her so popular, whilst constructing an ode to classic pop.

Yazmin Lacey’s curatorial skill sits alongside her painterly-like vocals, resulting in a bold, and emphatic album project.

Not only is ‘I Came From Love’ the best album that Okumu has released but it’s one of the finest albums of the year so far.

The group’s third album in three years, they never once let standards slip. All in all, the aptly titled ‘Glorious Game’ is a punchy LP with considerable replay value.

All in all, ‘Henry St.’ is the type of cozy album you’d stick on your record player on a rainy Sunday and is a strong comeback from The Tallest Man On Earth indeed.

There are no bounds. ‘Exotico’ let’s go of control, so remarkable things can happen. It’s the closest Temples have been to releasing a masterpiece, and that’s saying something.

The result is a solid, if overly safe album that avoids some of the pitfalls of the past but fails to ignite the heart.