A few listens, however, will peel back a casing and find that every track has its own M.O and spans the curvature of the emotional kinsey scale.

Cinematic in its scope, the album runs like a screenplay with character developments, recurring themes, tragedy and, finally, resolve.

On the surface, a welcoming, accessible, wholly beautiful record, but laced with depth, allusion, and verbal knots that refuse to be untied. It’s addictive yet confusing, instantaneous yet difficult to fully understand--it continually forces to you to cease arguing, and simply listen.

On this record Leftwich has managed to turn tragedy into uplift using a consistent sonic formula.

Glass Animals should definitely continue tinkering with their sound; they just haven’t yet earnt the right to full reinvention yet.

No Mind No Money is one of those records which has the potential to evoke mass sing-a-long’s but is versatile enough to still be enjoyed in less boisterous settings--all whilst radiating a captivating warmth and comfort which ultimately will keep you coming back for more.

However you approach it, Take It, It’s Yours is an enjoyable, quietly seductive collection.

Foreverland embraces the clichés and largely follows a formula. Certain subject matter and song titles perpetuate a particular illusion and the middle of the road radio play has trickled in according to plan.

The results are mixed, but what’s certain is that Mild High Club have broken ground and laid new foundations with their most nuanced and exploratory material to date.

There’s still a fair amount of self indulgence, and the rare occasion on which you wish he’d stuck to the old habit of micro length tracks (‘HER’ being one such example), but on the whole it’s a well selected body of work.

A return-to-roots record that works most successfully when it rebels against itself, Jamie T's vision of revelation isn't something to be easily shrugged off.

Between Waves is an album created by a man who knows what he’s doing; and that’s the problem. He could create satisfactory albums till the end of days, but he’ll need to rip up the rulebook if he’s to grab people’s attention in this fickle age.

It demands your attention, but more importantly, it deserves it too. This is the sound of an artist in complete control, full of confidence and dazzling flair.

While Innocence Reaches won’t go down as their best, it’s refreshing to see that Kevin Barnes and Co. are continuing to reinvent themselves with some of their most anthemic, accessible, and socially pertinent singles to date.

With their frantic live performances and a solid set of tunes behind them, the sunbaked stoners are on to a winner with this ten-track wonder.

It’s less of a seismic shift from their debut, and more of a progressive tweak towards something much bigger.

Blossoms have produced an album of perfectly structured songs accompanied by strong lyrics that tell many tales to the large cult they seem to have already acquired.

And The Anonymous Nobody is still an impressive new installment in what has been a largely-unblemished career run.

The band's melancholic core remains intact on a record that's best listened to through headphones in a big coat while crying. What is noticeable in its absence is any foray into flat out, ear-grating noise á la 'Doe Deer' or 'Alice Practice'.

A premise so potentially sprawling is over and done with after 35 minutes. As the conduit probably has his next spiritual plain and energy source in mind, it all adds to the enigma.

While by no means poor, this album does little to advance the reputation he has already secured, as one of the UK’s most reliable rap suppliers.

Rock-hard and sloppy in equal measure, Boy King is a creature of base instinct from a band of high intellect more used to drawing their songs from their frontal lobes than their testes (even if their lyrics often suggest otherwise).

Instrumentally, the album maintains the similar Owen tropes we’ve come to love and expect.

Warm On A Cold Night is essentially a pick-up line delivered in Andy’s charmingly unfinished croak, wrapped in sensual synths and slick basslines.

Their sound is by no means unique, and it’s not hard to detect some Metronomy and Jungle in there, but they’ve certainly raised their game to the point where they sit at the same table as their arguably more illustrious peers.

Less one-eyed compared to, say ‘Omega: Alive’, far less experimental than the last ‘Nighttime World’, ‘Victorious’ still leaves open the interchangeable nature of where Robert Hood starts and Floorplan ends.

The backbone is Allen’s afrobeat vibe, on top of which ten Haitian percussionists have piled on the voodoo grooves and chants. Pretty krautrockarama.

[Patience] boasts several colourless, uninspired tracks.