‘Between You and Me’ sounds as if it was both carefully constructed over a thousand hours, and improvised in one take, and it’s the most Flyte Flyte have ever sounded. Half of the album is simpler, softer, and more stripped-down sonically, and it showcases the vivid songwriting that Flyte are so expert at.

With ‘Essex Honey’, Hynes doesn’t offer immediate catharsis or easy answers. Instead, he provides something equally valuable: an honest documentation of processing grief with such sophistication that his individual journey becomes widely resonant. It’s Blood Orange at his most complex, vulnerable, and accomplished.

A juxtaposition of life’s light and dark, glittering idealism and harsh realities, ‘Hard Headed Woman’ is a gorgeous display of classic country tropes, blues instrumentation and songwriting prowess.

‘Euro-Country’ is impeccably timed, but it’s also a weighty release, with the gorgeous Nashville-tinged songwriting allied to some fantastic polemic. This is a fantastic release – CMAT in excelsis.

It’s note-worthy how fresh and vivacious ‘Man’s Best Friend’ sounds.

This project combines many styles Hayley has touched on whether that might be with Paramore or independently, but her distinctive lyricism ties them all together into a discovery of self. [Review is based on the 17-track release]

Beth’s voice might be confronting at first, but over the course of the album the frustration becomes contagious, proving that anger is not something to be frightened by.

The production in songs like ‘Drive’, with its charming bass line, and ‘Silver Jubilee’, with its flirtation with 2016-electropop, are nice surprises, but overall the record can get a little repetitive with its themes and melodies. .... But her comedic and very specific style does shine through either way, and performing these songs for a crowd will probably add to the depth of future projects.

‘Escape Room’ reverberates with cinematic flair and curatorial focus, but its true strength lies in Taylor’s understanding of the RnB rhapsody through time; the love song that is most effective when it’s spare and submerged. For this reason, ‘Escape Room’ is as necessary as anything Teyana Taylor has ever recorded.

While there are moments where the concept of ‘Parasites and Butterflies’ is stronger than its execution, this is still a stellar outing for Nova Twins, once more establishing themselves as a vital and thrilling voice in the rock scene.

It is to the group’s credit that they manage to balance the disparate influences and styles with such panache. It is one of the band’s strongest to date and one fans will come back to time and time again.

In the end, LP 2 is the sound of a band taking everything that’s worked so far and refining it with style, taste and precision.

There is a distinctive confidence as Rachel Brown and Nate Amos weave nu-metal backbeat, indie guitar twang, piano motifs and deadpan vocals together.

‘Live Laugh Live’ is a rap Escher diagram, a Greek maze with MC as Minotaur; it extends Earl’s world, and invites you forward with every step.

A crisp, often emotional, pop experience, it’s a break with the past while remaining utterly true to the precepts that Wolf Alice forged their success by.

‘Guitar’ is easily one of Mac DeMarco’s most humane, and emotive records.

Deftly striking a balance between brutal and graceful, it’s a welcome reminder that Deftones are still more than capable of delivering the goods while showing us something new and vital.

It goes in constantly engaging directions and challenges what we expect from her as an artist and writer. It should please long-term fans and offer a fine jumping-on point for those who’ve not explored her work before.

Flimsy and unfulfilling, ‘Love Is Like’ stumbles to a halt with the crooning ‘My Love’ and insubstantial ‘California’.

‘Easier Said Than Done’ hears them at their most refined. There is a refreshing honesty told in the lives personified across the album and, in the world of each song, no story is off-limits.

Refusing to surrender the emotional core of his songwriting against the dazzling array of studio fireworks, this is Dijon at his strongest – an artist stretching his discipline into evocative new shapes.

To be clear this is far from a melancholy album, in fact it is more melodic than their EPs, but still retains the very essence of Humour, with their vividly unique view of the human condition.

‘Wishbone’ stands as a confident pop statement, pairing Gray’s impressive vocal prowess with sleek, polished production.

Boasting 17 tracks and 78 minutes of music, ‘STAR LINE’ is a feast from start to finish. A record that points to his breadth, certain aspects – the torpid ‘Tree’ featuring an out-of-form Lil Wayne – don’t quite resonate. That’s fine, though: there’s more than enough here to drown out the noise.

With the album being centred around the concept of time, ‘Carving The Stone’ feels like it will stand the test of it.

It completes Amaarae’s transition from a fringe Alté artist to a future-pop icon in the making.

A record so evocatively laden with peaks that it makes the Alps look like as a flat as a plastic football pitch, ‘Panic Shack’ is basically the most fun you’ll have with a British debut this year.

For all the gruff exteriors and black-clad poses, if metalheads agree on one thing, it’s this: a touch of theatricality—especially when served with fireworks and a scream—always hits the spot.