There is a genuine timelessness to the thirteen tracks of ‘Everything Harmony.

The shifts are subtle but notable, providing another brilliant backdrop for Jeremy’s largely pained candour.

‘I Love You Jennifer B’ feels like everything that’s come before has just been a trial run. It’s bolder, more rewarding, and so much more cohesive.

Much like what has come before, it’s in this melancholic in-between that ‘Little Oblivions’ finds its voice; a soundtrack for those searching for hope in difficult times, particularly when the wider world has removed easy distraction from the pain.

Throughout this 21-track pop odyssey, Lauv shows just why he’s considered one of the finest pop writers around.

Succeeds through the sheer brilliance of its songwriting and the trio’s palpable love of their craft. While perfectly capturing the zeitgeist, HAIM carry the passion, creativity and joy to also cement ‘Women In Music Pt. III’ as a timeless classic.

Ghetts secured his place in the conversation around the greatest UK rappers years ago; ‘On Purpose, With Purpose’ sets the bar higher once again.

Surpassing the hour mark with some space yet to go, the record provides an expansive canvas for Sufjan to critique the flaws of humanity, at the same time finding room for the inward focus that made his previous offering so compelling.

That jasmine.4.t should be part of the Phoebe Bridgers cinematic universe is arguably the most glaringly obvious facet of debut album ‘You Are The Morning’. A record brimming with folksy warmth and vivid storytelling, with song structures that build on themselves so smartly as to belie their frequently six-minute-plus length, it brings the phrase ‘match made in heaven’ in mind.

‘Carnage’ is a jewel in the Cave-Ellis cannon. A thrilling piece of work that sources a sweet-spot between the unbound introspection of the Bad Seeds’ recent work and the furious fire lit beneath Grinderman and The Birthday Party.

Rise Ye Sunken Ships is a monster of an album, rich in credibility and one that is often raucous, but never noisy.

A technicolour triumph that’s his most ambitious, maximalist, and forward-facing work yet, ‘Radiosoul’ shows Alfie Templeman to be not just ‘good for his age’, but an assured, fully-formed artist capable of holding his own beside some of the industry’s best.

Jenny Lewis has never sounded this confident in her own skin.

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.

There are strokes of brilliance on Twin Shadow's second full length, 'Confess', as Lewis Jr. blends 80s influences with dashes of funk and pop to create a largely cohesive record that is steeped in lustful atmosphere.

A dystopian, focused pessimism that sounds (unfortunately) exactly like the world outside, but doesn’t sound quite like another band on the planet. A perfect soundtrack to nagging doubts and creeping realisations.

Opener ‘Happen To Me’ has echoes of The Japanese House’s introspection, and the acoustic nature of ‘Same Effect’ and ‘A Little While’ bear more than a passing similarity to Billie Eilish’s quieter moments. Add to that the cosign of alt-pop foremothers Lily Allen (‘Plain’) and Grimes (‘Sheesh’) and BENEE’s on to a winner.

Throughout, keys shimmer, the production is bright and sky-facing, with an emphasis on synthetic beats. It makes for an album that’s unsubtle and all the better for it.

Korn are anew, and ‘Requiem’ sees them fearless, no longer managing a balancing act with imprudent collaborators and instead embracing what made them famous to begin with. Impressively, their 14th studio album is teeming with riveting hooks.

Like stepping into a universe of the duo’s making, almost, it’s the kind of sonic escapism that’s akin to reading a good book.

With PUNK, CHAI have defied all expectations, decreeing that everybody to them is cute--and they don’t need to be.

Filtered through a dispersing wall of glistening synths and trippy haze, Ester is a sonically rich debut.

With new tools, they’ve taken liftoff from a proven formula when they really didn’t have to.

In digging back through music history’s treasure trove, Childhood have forged ahead into genuinely exciting new ground. They might have broken through with a bunch of other bands, but now Childhood don’t need anyone but themselves.

There’s two sides to Blood, that much is certain, and it’s the juxtaposition of these cradling tracks with the gut punchers that really leaves you breathless for more.

The Anteroom is surely How To Dress Well’s most exciting work to date; it might, in time, unfurl into his most poignant and vital, too.

I Used To Spend So Much Time Alone isn’t as callow as previous Chastity Belt records, and intentionally so, fully digging up the sadness that always lay ever-dormant beneath their tinny-swigging chaos, and leaving behind biting mockery for something that feels vaguer, and also more universal.

Haunting, intoxicating and crystal clear, the record is both sad it’s over and excited that things haven’t even begun.