It begs to be listened to again and again, and to soundtrack warm nights spent ruminating or engaged in the kind of conversations that can only come late in the night. The intricacies of ‘Charm’ demand to be intimately known.

Despite clocking in at just under 52 minutes, never does ‘BUTU’ feel anything but relentlessly frenetic fun. From its breakneck bonkers energy, to the more slowed-down moments, this is absolutely one for the ravers.

‘So Much Country’ is a confirmation that just two EPs in, Westside Cowboy are already confident about where they’re heading.

When We All Fall Asleep, Where Do We Go? is a supremely exciting, innovative first move from a pop voice that feels utterly fresh and modern.

There are times, however, when the mix doesn’t quite lend Björk’s message enough power. ... For the most part, Utopia sounds like an album where she’s followed her own advice. It demonstrates how the Icelandic alt-pop legend has pushed past her own emotional turmoil, taking yet another step in her ever-evolving saga, one that sets a path for future endeavours.

Joyce Manor are more than comfortable with their own sound now--they’re effortlessly confident with it, and Never Hungover Again is a stark reminder of just how much fun you can actually have without alcohol pumping through your veins.

‘Breaking…’ offers up a feast of exuberance, standout track ‘Riots and Jokes’ musically epitomising the album’s forward-charging freedoms, and neatly sums up Quasi’s modus operandi there in its very title.

Saves The World carries the same weight as its predecessor, but breaks the dark-pop boundaries the band themselves created with their debut. It’s an exhilarating ode to self-preservation and to being your own number one fan.

‘Fancy That’ scratches just about every nostalgic itch her listeners might have, all while remaining on the pulse of what’s next.

If Skepta’s ‘Konnichiwa’ was grime’s breakthrough, Gang Signs & Prayer is its blockbuster--an all-encompassing ride through human experience that’ll stand tall for decades.

While it can be an emotionally turbulent listen that continually returns to the fracturing of the self and the breaking apart from others, this is also an album that is deeply arresting and vital, a reminder that these ruptures are a part of the rocky terrain of life.

Panda Bear Meets The Grim Reaper is dense, slippery, wily, and flung together effortlessly like a meticulously rehearsed sleight of hand. Boy, is it worth the legwork.

It’s far from The Hives choosing to rip up their well-thumbed rulebook, but it’d take a cold, cold heart not to be energised by this latest collection of suitably raucous rock’n’roll bangers.

The anger remains palpable, the lyrics ever relatable, and ‘All That Is Over’ injects enough ingenuity to keep Sprints right at the top of the class.

With the sum of the trio’s musical parts now known, and this quite literally coming from the same sessions as their previous, to summarise ‘Cutouts’ as more of the same might seem a tad obvious a statement to make, but it’s just about the most accurate.

While it does see Faye and her band at their most musically warm and open - nearly every track is a devastating beauty - lyrically she feels more closed off than ever before.

A stirring and immediate listen, as Charli takes us with her on her lockdown emotional rollercoaster in real time.

It should go without saying but it needs to said: this is an intricate, jarring and complicated piece of work and is undeniably brilliant.

Stonechild is an exercise in top-level songwriting, stately and intelligent.

It’s an undeniably strong album, in which existing fans will find much to love. It just isn’t quite ‘Heartland’.

At an hour in length, though, and spewing at the seams with new sounds and concepts, Freetown Sound is more a vessel for Dev Hynes’ production prowess than Blood Orange’s flag in the sand.

These deranged components act as one, swinging into motion in one fatal blow. That it comes out sounding seamless is another thing altogether.

An album that continues the quartet’s knack for pairing potent socio-political commentary with delicious pop nous.

It’s a record in its creator’s image; curious, insightful, eclectic and - most of all--good fun, against the odds.

To write about topics this intimate is brave. For Camp Cope to do so with honesty and enchanting fury takes a lot of energy--and that is nothing short of valiant.

The Liverpudlian four-piece are gifted with penning peppy indie-pop, the melodies that lift the likes of ‘Be Your Drug’ and ‘Move To San Francisco’ are spiky and infectious but ultimately stick to a well-worn formula that produces middling results.

Despite its flaws ‘Blood Bunny’ does a great job to showcase what this bright young star has to offer.

It finds him at his most confident, if not most innovative, and maybe his most comfortable.