The songs are a little more distinctive, and they’re crafted a little better.

An album that leaves a profound impact in the softest manner possible, ‘A Quickening’ thrills with its pin-prick intensity, with its phantom-like layers of sound. In documenting fatherhood, Orlando Weeks has emerged as a songwriter renewed.

It is captivating. What is more, we’re listening to every note and hanging on every word.

On her third album, the Irish folk singer has created a record shrouded in mysticism and mystery – that carries the listener far away from lockdown life. The star of the show is Power’s vocal.

At times, it feels like a test drive, pushing the boundaries to prove to itself what can be done. But when he concentrates his focus and narrows his noodling, it delivers substance and heft.

Kember’s vocals throughout are thoughtful and full of promise for the future, rather than the more recent sombre Spectrum albums. ... At times Sonic Boom feels like a long-lost friend you bump into by chance. He is the same person he was in 1989, but he has also grown a lot too. This comes across in ‘All Things Being Equal’.

A fine album that balances its expansive and experimental edge with rich, emotional musicality.

Rolling Blackouts Coastal Fever have produced an album that dangles a carrot of the possibilities of exploration at the time of the impossible, but they are absolutely better off for doing so.

'Your Hero Is Not Dead' is essential listening for anyone at odds with themselves or the current state of society, which really should be just about everyone at this point.

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.

It’s a fairly middle-of-the-road indie record. It could do with a little more depth, a little more humanity.

The trio’s self-titled debut album sounds like the first airing of lost classic rock record, with a tonality redolent of tube amps and smoky studios. ... A bold and surprising statement of purpose and intent.

‘RTJ4’ is a must listen. It is diverse enough to appeal to even the hardest crowds. Many genres are represented here, but lyrical hip-hop is at the forefront of all that Run The Jewels is. They stand out from the crowd, whilst invoking the people to stand up for themselves. There is not a bad song on the entire album and the production and features are second to none.

‘Alfredo’ excels on every front, a record that fuses a thirst for fresh innovation with a depth of love for hip-hop and rap music that is almost unparalleled. Pretty much an instant classic, it’s the sound of Freddie Gibbs finally bursting free, working with tour de force production to surge past expectations and claim his place at the absolute pinnacle.

There’s a spirit of continuity that makes ‘Harmony Avenue’ feel like a cohesive collection rather than a joined-up sonic pathway; a sense of purpose that somehow makes these disparate sounds all work together.

Across its sixteen tracks, ‘Chromatica’ is entirely over-the-top, but in the best possible way. Every song is an anthem of defiance and empowerment, turned up to 11 and genetically engineered for maximum danceability.

Part of the problem is that Diplo has never done subtlety. He’s in his element when blasting vuvuzelas onstage, working with cliff-edge drops and acres of bass frequencies. Out on the open plains of songwriting he often feels lost, resulting in some startling lyrical simplicity.

This album is an entirely immersive wall of sound that deserves to be listened to time and time again.

Perhaps his strongest solo collection in some time, ‘I Love The New Sky’ holds true to an innate but rarely explicit sense of optimism. Softly uplifting in a very English way, it feels like a slow exhalation, a record that gently tugs at your sleeve. A low-key marvel.

The entire album is a beautiful assemblage of the ways we hurt, how we fall short, how we rise and how we begin again. There is a captivating dizzying quality when you listen, as if Salvat is transporting us to the inner bindings of his heart. There is inertia and there is quiet in the unraveling of the emotional.

On ‘Nothing Lasts’, the final song on the album, Schleicher seems to find peace after what’s been a fascinating but intense journey.

Eve Owen has only just started her journey, but there’s clearly a bright future ahead for the artist as her mature and accomplished album proves she’s indie music’s rising star.

While seemingly a far cry from much of Cole’s early work. It’s clear that despite the pervading neo-classical influence of the record, what it does share with the rest of his canon is a clear, deft understanding of music that can’t be argued against. At a time when much of the world is forced to stay indoors, 'Madrugada' provides a breath of fresh air.

For Smith, though, she doesn’t need loud dynamics in order to submerge the listener; and for much of her latest record the command of her machines is such that the mind is easily able to wander, and forget that they’re there at all.

‘Notes On A Conditional Form’ is lyrically playful and musically a step away from being confused for a compilation album of the best tracks this group has ever released. But that confusion is warranted. This is The 1975’s quarantine Megazord.

‘Yayo’ and ‘Butterfly Paralyzed’ both showcase Lean’s ability to graft chrome-plated hooks onto any track he likes. The former is sparse and simple where the latter is full to the point of overload, but both tracks sound like evolved versions of songs you’d hear on the radio – music for a society of cyborgs.

An emotionally ambitious 20-track built on pain, vulnerability and self-identity.

Raw, real and humorous, ‘All That Glue’ is an important event delivering a conclusive overview of the duo’s achievements and successes at a time when there’s a real thirst for it.