‘Song For Our Daughter’ is a powerful and resounding success, and re-affirms Marling’s position as one of our most important feminist songwriters.

CALM is a refreshing evolution from the days of their self-titled debut. Their latest effort is by no means perfect, but the album is a testament to their growth.

Sonically ‘The Loves Of Your Life’ is a Wurlitzer whirlwind of nostalgia, however the glimpsed memories that lie at its heart are so charmingly dazzled to life - they are testament to the humanist eye of a songwriter as vividly inspired as he has ever been.

Nova Twins’ sound remains 100% homegrown British beefiness. There are many people out there from across the rap-rock spectrum who will despise this album (for reasons both fair and foul), but there are many more who will appreciate the lack of compromise in this rollicking call to arms.

The three work well as a collective: Chip provides the cut-throat and fresh bars, Adz comes with the melody and Skepta is free to experiment throughout. The beats stand up too, consonantly switching patterns and breaks and bringing the best out of each artist.

Beneath its whimsical summery palette, lurks a repetitive sound that dulls the vibrant texture the lineup promises. In short, it’s an album that’s halfway there.

It’s so heart-rending you could keep yourself wrapped inside its comfort for hours and not come out. To all those troubled minds and torn hearts clinging to the past, this is utterly heavenly.

It’s an album embracing difference, accepting highs and lows: just what we need right now.

‘A Written Testimony’ is a biblical album for biblical times, with enough human flaws to make it imperfect.

‘Saint Cloud’ is the refreshed, reformed and matured Waxahatchee – and it’s glorious.

‘Before Love Came To Kill Us’ has a number of strong tracks and is an excellent debut. Jessie Reyez appears to be in total control of this record and shows off her versatility, as well as her rage.

An authentic and contemporary guitar sound, ‘925’ is a snappy and raw blend that bounces the listener into the more unexpected edges of the imagination.

Porridge Radio have not only written the album of their careers but possibly of the year too. Their new project ‘Every Bad’ is full of the catchy songs that are overflowing with lo-fi ramshackle post-punk guitars and uplifting vocals.

Overall, aside from a lack of sonic variety from song to song, ‘Velvet’ is a strong showcase of a soundscape that is – pun intended – smooth as velvet.

Production-wise especially, this is The Weeknd’s strongest project yet, and deserves all the recognition.

‘Future Nostalgia’ is an empowering, dynamic pop cavort from start to finish. Dua’s compelling vocals, hooks and beats are a force to be reckoned with, daring you not to boogie around your bedroom.

‘High Risk Behaviour’ clocks in at under half an hour which is a good job considering The Chats only have one trick, but strewth they do that trick well.

Righton paints the perfect picture of his inner thoughts as he embarks on a cinematic journey with poignant lyricism, exquisite production and charismatically seductive soundscapes reminiscent of Roxy Music.

‘Aporia’ certainly asks a degree of patience from its listener – the kind often reserved for previously-existing fans of Stevens – to realise its full potential, but over the last few decades the number of listeners able to give this patience has grown exponentially, just in time for Stevens to push boundaries that bit further once again.

From infectious single ‘Ego’ and to sobering dream pop song ‘Connect The Dots’, his determination to look for solace beyond right and wrong is palpable. We believe he is riddled with guilt – and that is a testament to Solomon’s talent. By comparison, the second half of ‘Uneasy Laughter’ is almost void of internal conflict, even if it remains melodically accomplished.

‘42.26’ - unmasked as the previously released ‘Feels Like Summer’ - and ‘47.48’ (which features his son Legend Glover) are the only other enjoyable tracks on the project. The other songs seem to fade and ultimately becomes background noise with no proper substance compared to Donald Glover’s other projects. Lacking the strong narrative thrust so apparent on his past albums, the project is incredibly disappointing.

An energetic and vibrant project, that is exactly what the music scene needed in such an uncertain time. One of J Balvin’s strongest projects to date.

For all its crystallised pop production, ’Ricky Music’, can’t help but feel flat. More concerned with evoking a feeling and mood rather than say anything explicit about the sadness, confusion and joy that Maine has experienced in the creation of the record beyond broad stereotypes of sadness.

Code Orange’s aim is not to upset the status quo but to rob it. Are they delusional? Absolutely, but the sheer, clear-eyed ambition they exhibit in pursuing the impossible is compelling enough to make ‘Underneath’ an absolute must-hear for anyone who dares to dream differently.

Despite sometimes failing to embrace the originality that made its predecessors so popular, it has some exceptional moments.

With ‘Weather’ it’s Saint Sinner’s vocals that give the project direction; when these are stripped away on ‘Simulcast’, it’s up to the listener to find a way though, to draw the conclusions. And it’s these personal conclusions that make ‘Simulcast’ arguably a far more engaging and interesting experience than ‘Weather’.

Collector is clever, catchy and addictive, and gets better with repeat plays. You can only imagine he and Disq know exactly what they’re doing.

Starmaker is a joy from start to finish. Together, each song on this debut album supports Honey Harper’s ambition to bring his cosmic country into a wider setting and he does it with currency and aesthetics.