The Leeds-based group’s long-delayed debut might not offer much in variety (in short, if you’re into a combination of those groups’ [Gengahr, Bombay Bicycle Club or alt-J] sounds, you’re going to love it), but in our current long, dark winter nights there’s a nostalgic tint to the songs on offer, whether the bassy synths of the title track, or folky ‘Smorgasbord’ that hits right in the warm and fuzzies.

‘Sticky’ is music for living life in full colour, and until you listen, you won’t know how much you needed it.

He combines whispering brush patterns and flecks of industrial glitch in the cerebral ‘Foreplay’ yet writes the perfect neo-soul pop song in ‘The Loop’, exemplifying his cross-disciplinary skill, and ability to marry fluid performance with tonal nuance.

‘GULP!’ isn’t Sports Team’s number one-scoring album (that could well be still to come). What it does offer is a heft of new ammo for pint-flinging, moshpitting chaos on the dancefloor.

The witching hour is here, and ‘Miss Power’ is mesmerising.

There is a surety to ‘Permanent Damage’, however, in the sheer force of lyricism at play. With soulful, silk-like vocals, Joesef weaves this narrative, deftly dealing the blows of this world in absolute destruction, before showing that ultimately, some marks never fade and that’s OK.

Undeniably ‘WEEDKILLER’ is a funneling of rage - a quest to rediscover autonomy and cement identity - but despite the darkness is ridiculously fun, too. It’s a triumphant debut - one that changes the game like a live wire in water.

The sheer number of curtain-drop moments is remarkable, somehow never overused or superfluous. There’s a mastery in the songwriting, too: simultaneously gut-wrenching and incredibly cathartic, continuing a thread that has underpinned the band’s material this far.

Kai James’ overt framing of the album acts as a sort of meta literary device, immediately establishing its character and concept (namely, himself and his own mental ill-health) with the narrative nous of fellow Aussie Courtney Barnett. Indeed, over the course of the next ten tracks, it’s as if you’ve been transposed directly into James’ frontal cortex.

Towa shows a lot of promise on ‘American Hero’, but this is a record which doesn’t quite know how best to use her strengths.

On ‘Transparent Things’, she finds the balance between spectacle and subtlety.

‘The Weightless Hour’ is a mature record that sounds completely at peace with its place in life.

A textured tapestry of overwhelm that’s as desperate as it is defiant. She employs a string section across much of the record (a return to the expansiveness of 2018’s ‘Transangelic Exodus’), and yet also dabbles in sampling for the first time; with its skittish drums, eulogic cello, and haunting vocals, ‘You Mustn’t Show Weakness’ is the potent pinnacle of this new frontier. Lyrically, too, ‘Goodbye Small Head’ is some of her finest work.

Clashing, cluttered, chaotic, challenging, ‘McCartney, It’ll Be OK’ is a venture beyond the conventional consideration of ‘progressive’, one to simultaneously blow eardrums and provoke minds.

‘Who Wants To Talk About Love?’ arrives as a collective and deeply-charged record of human experience.

The record - which benefits from an open-minded choice of producer in Chairlift’s Patrick Wimberly - concludes with the soaring ‘Brothers Won’t Break’, a heart-warming reaffirmation of the Jarman union - and a roar of assurance to the Cribs faithful that they remain one of the most irrepressibly vital bands in Britain.

If You’re Reading This It’s Too Late is by far Drake’s most dense and complex album.

There’s little in the way of new ground broken here, but it's consistent nonetheless.

The only thing holding the album, and the band, back from being outstanding is the lack of obtuse moments; as at points the piano/electronic drums/synth combo can wear a little thin.

Distinctly shying away from the commercial, Chad VanGaalen is an explorative soul and although his frightening world is separate from ours, he makes a peaceful journey of it.

M.I.A is a maverick writing this album only for herself and her cause, but still, Matangi is a welcome return to form.

Whether down to Erika’s understated vocal, or the shallow pool from which many of the musical textures come, things do elsewhere get a little samey. A shame, as ‘Sensational’ starts so bright.

For all the immediacy of these tracks, the core of others can get lost: on ‘Pass’, she perseveres through changing seasons and a tornado, yet ultimately a high-pitched, burbling synthesiser is the obstacle that proves too much, distracting from the atmosphere that’s been so carefully cultivated.

While ‘Harlecore’ may be primed to bring the party, it’s just not quite the mad one we were hoping for.

There’s still a little greenness here and there – the Royal Blood-esque ‘Summer Of The Shark’ lacks a little individuality, for example – but in the position that DITZ have put themselves in, there are a lot of places for them to push the boat.

While ’40 oz. to Fresno’ is certainly a little less orthodox than we’ve come to expect, it doesn’t matter all that much: their rough-around-the-edges punk still strikes the right chords.

The record makes no attempt to shroud emotional reactions to the modern world, and it results in a thematically poignant, lyrically sharp and sonically surprising statement piece that redeems what was once used as a dismissive label.

Lizzo has created something often softer and more intimate than anyone might have expected. Of course, as the disco strut of lead single ‘About Damn Time’ will attest, there are still cheeky bangers contained within.

With seemingly none of that badass-ery from their classic late-’90s output diluted by the passage of time, ‘Little Rope’ sloshes up nothing less than a condensed, rocket-punch collection of ten three-minute bangers.

‘Perfect Picture’ is the pinnacle of today’s hyperpop yet steers away from its once abrasive nature towards a well-rounded, rebooted version: one where all that Hannah is and can be is indeed made picture perfect.

Throughout, the record oozes an elegant stream of sophistication and songwriting nous, backed up by a rich, clearly well-thought out and measured Tucker Martine production.

Mew have always been unpredictable, and with +- they prove, once again, that it’s all for the best.

With its clean, bright production, Frankie Cosmos have found a fitting sound on ‘Different Talking’, via their new era of lush, happier pop-rock.

Ultimately, ‘Ripped And Torn’ is a little disappointing - its sounds are solid, refined and rehearsed, but feel relatively misguided, with the band seemingly unable to determine exactly where they’re going.

Musically tying everything that’s come before together in a comprehensive showcase of the band’s continued prowess, and lyrically providing an ominous but defiant voice for 2019, Everything Not Saved Will Be Lost is Foals’ definitive statement. And that’s only part one!

This is not quite Modest Mouse at their best, but they’re not a million miles away from it, either.

In typical Soccer Mommy fashion, there’s little flashy footwork to be found here; only expertly-shaped understated songs that give more with every listen. Stepping beyond the groundwork of her debut collection, and sounding all the more confident for it, Sophie Allison shoots, and she scores.

James’ voice remains the deserving centrepiece. Still fragile, but now sounding more confident than ever, those pipes sound warmer and thicker than ever before.

‘A Bit of Previous’ remains an enjoyably sunny listen, even if one frequently inflected with melancholy.

Highly recommended.

Sucker Punch does much as the name suggests. It’s full of swooping, dramatic choruses and clean-cut vocals, where almost every song is a potential radio hit--only that’s not a bad thing.

In 12 songs, they make it pretty clear which side they’re on, and it looks like the winner - smart, engaged, and willing to crack a joke with the faith that their musical dexterity will speak for itself. Love them or hate them, dismiss them at your peril.

Whiteout Conditions is a consistently engaging and occasionally irresistible collection of pop songs, carried off with the unmistakable assurance of old hands.

Across the record, Thrice conjure an atmospheric beauty but maintain a connection to the dirt beneath their feet.

Faris Badwan’s cool vocal command - something which belies the fact that lyrically, ‘Night Life’ is unafraid to reckon with the violence and chaos of the present moment. He’s done some of the finest writing of his career here, on a record where The Horrors burn the midnight oil with a new intensity.

The Seduction of Kansas is another evocative and considered album, the band reiterating their ability to present topics with tremendous clarity and depth. Which, given the complexity of their themes, is exactly what most of us are crying out for.

he 2 Bears have once again triumphed at what they do best, serving up a vibrant and joyous take on the music that has shaped them.

After years of reflection, this is a steady steep back towards the future.

Omnion can feel somewhat familiar musically and while it’s unlikely to break the ground of earlier releases, nor does it need to--Andy Butler has carved out a unique space that he’s remained true to, with little desire for reinvention.

Sharp, vivid songwriting is central to Samia’s craft, and with ‘Bloodless’, her superpower lies in her curiosity for the unknown, and an ability to turn herself inside out, facing the raw, uncomfortable, and deeply human parts of herself head on.

‘Haunted Painting’ sees Sadie Dupuis finally letting go of the grief that has worried at the back of her head, processing her emotions head on in order to create work that she describes as being ‘truer’ than anything before. As a result, ‘Haunted Painting’ makes for surprisingly light relief.

‘Beatopia’ shows growth without risking losing the charm that has made Bea a firm favourite.

She’s created a world of her own, and on this latest record she sinks deep into its clutches.

While ‘Endless Rooms’ chronicles a darker period in RBCF’s time as a band, it’s an album that paves a sonically brighter and broader future ahead.

American Football meanders a lot less than its predecessor, and it’s a much more focused record, every move carried out with precision.

Hurrying urgently down the rushing veins of every song, colliding surreally poetic lyrics with thumping racket in a tense, on-edge mess, Untitled could well’ve put WALL on the same trajectory as their equally absurdist contemporaries Parquet Courts.

It still has the eccentricities that make them such an intriguing band, but without compromising on these elements Tune-Yards have still made their most accessible, danceable and thought-provoking album to date.

A truly astonishing, unique and unchallenged sound.

Pulling together synth, strings and warped melodies, the love song [‘Winter Is Hopeful’] is tender yet distant, disarming yet comforting, discordant yet oddly harmonious - the way this album sounds.

Richer then than even the sum of its parts, The Bride is a beautiful, complex and often harrowing listening experience.

II is an advert to be a whole new generation’s Sonic Youth or Nirvana and on this performance, you’d be foolish not to buy in.

Instead of sewing the seed for a brighter future, TV on the Radio leap ahead with a renewed sense of being.

This far into his career Mark Lanegan was unlikely to start making albums that are any less than engaging, but it’s still testament to his creativity and love of his art that ‘Phantom Radio’ is such a successful departure from bluesy rock and roll.

Given time to develop and augment their tribal leanings, Ibeyi could and likely will prosper--but in current form it feels a little to offer a half-hearted hand on something more sacred.

It's rich, vivid, and occasionally odd enough to give you a start.

‘Fine Art’ should be viewed much like any great work: as a whole. And as a whole, it’s totally unique, totally committed and totally thrilling – just don’t tell the government.

There’s a great and clear leap forward this time around, but this still has all the cornerstones of what drove so much attention: the ability to lull listeners through power pop or be taken in dreamlike trances, lyrics that take you on new journeys with every listen.

There's a certain urgency lacking to 'Kill My Blues' - Tucker seems determined to tap in to a certain rage and angst, yet still manages to sound rote and homogeneous.

A fine album of rich, smooth, sunset-songs.

The group expand on the sorts of themes and sounds that have made them so distinct to the ear while incorporating new layers of heavier krautrock, as well as melodic folk to further engineer their trademark sound.

SOHN's essentially written an album's worth of brilliant pop songs.

Given time and patience, it will eventually unravel into a truly gripping that, although disturbing, is worth every minute of your time.

Pip Blom haven’t changed their sound, but they do feel like they’ve got to know it better.

By opening up their songwriting process, the band have managed to carve out an even more singular sound. The possibilities from here seem endless.

Ultimately Once More 'Round The Sun may not be as brilliant as last album 'The Hunter', but it's a fine piece of work and shows the band are not only ready for, but moreover deserving of their success.

While some may argue that Ones and Sixes sounds too familiar, it could be said that the trio are simply playing to their strengths.

Overall, Write In shows that, beneath their more leftfield influences, Happyness have it in them to be classic songwriters of considerable skill.

While hardly covering new ground or expanding their sonic palette, English Oceans is a welcome addition to the Drive-By Truckers discography as well as their best since 2008’s ’Brighter Than Creation’s Dark’.

Ending with the sprawling ‘Alone Piano’, the record catapults to spheres beyond. Standing open-armed and resolute for whatever might follow, Let The Dancers Inherit The Earth is an echoing cry for a bright tomorrow.

Two thirds of the way in, the earth-shattering basslines make their way into the track, managing to reign in that sense of initial chaos, holding everything together and potently reminding any doubters that the trio--Efrim Menuck, Thierry Amar and Sophie Trudeau--have lost none of their sense of the epic.

While it perhaps won’t warrant an influx of new listeners, The Waterfall is an inviting record that will leave returning fans thankful for them not disappearing.

This record might not quite affiliate the soundtrack to your stereotypical image of a hoedown, but it’d more than cater for the boozy walk home under starry skies.

By building his own synths and meeting his troubles head-on, Nielson has created a bizarre take on romance, one that for the most part breeds devastating results.

There are no answers, no solutions to any problems, and no gateway doors through escapism, but for half an hour the record shines a light through confusion, and just for a while, it doesn’t have to feel like such a loss to be lost.

Although still predominantly an instrumental album, there is substance enough on Breaks & Bone both musically and lyrically to reward those with the patience to persevere through the dense nature of the guitarist’s work and carefully unfurl its emotional layers to reveal a world of unhurried peacefulness.

The album’s title suggests fight and energy but much of this album feels too polite and too pedestrian.

They’re not boasting rock and roll’s supermodel aesthetic for sure, but it doesn’t mean a lot of people wont fall in love with that scruffy rock band next door.

Strange Peace is more--more intense, more melodic, more brutal, more confident.

Fast Food is pretty successful in capturing the ups and downs of complicated relationships. The fact it manages that in a way which is neither hackneyed or predictable is near miraculous.

Flourish // Perish is a thoroughly rewarding listen.

Lyrically, the record feels like an exercise in catharsis, while sonically it’s like the exhale of relief which follows. Wistful and tenderly so, ‘Paradise Pop. 10’ is completely entrancing.

Filled with experimental electronic goodness but maintaining a graspable simplicity throughout, Sleep Of Reason is a gorgeous and rewarding listen.

A People’s History of Gauche captures both the rotten societal traits and inspiring persistence that is often associated with people on the ground.

Witty, complex, and endlessly intriguing, Lust For Life is a painstakingly woven record from start to finish, with very few gripes.

While Dance on the Blacktop won’t mean everything to everyone, its considered construction, intriguing philosophising and plain old barbed-wire hooks mean it’s certain to mean everything to someone.

Gone are the days of Mokolo, but Take Her Up To Monto remains just as resilient; proving that Roisin Murphy’s productive world of pop madness has a rightful place in the present day.

While Spoon and Wolf Parade fans may be mourning during the hiatus of their favourite bands, this is a tasty release in the interim.