Palma Violets' deliciously raggedy rock is enveloping.

Stepping away from her bandmates, LoveLaws is an even more personal exploration of TT’s affective talents.

The singer-songwriter continues along that trajectory with her most cohesive, accomplished and undeniably catchy collection of songs to date.

There's a gulf between even At The Drive-In and how extreme Dillinger can be, but on One Of Us Is The Killer, they've finally written a record that bridges that gap while staying true to themselves.

Every time he approaches a sound that’s already been touched upon by countless other artists, he looks to cast conventional ideas in a 22nd Century chasm. He looks so far ahead, the rest can’t keep up.

St. Catherine is a quasi-nostalgic LP that’s sonically soothing, while exhibiting finely-woven musical textures. It’s clever, without being intimidating or pretentious.

While the styles vary - opener ‘I’ve Been Starting To Love All The Things I Hate’ is emo-pop in its delivery, while closer ‘Whistle’ is lackadaisical - that Aluna’s singular vision is never in doubt.

Hey, I’m Just Like You is a record underpinned by raw emotion, melancholy, and a quiet but clear sense of hope, making for one of the group’s most vital efforts yet.

There’s a lack of ostentation from start to finish. The sound is uncluttered but never lacking in clout.

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.

Perfectly pop yet delicately dark, Spector really have redefined themselves.

It cements ‘Going To Hell’ as a celebration of personal freedom, and the unwavering right for people to be afforded the opportunity to be comfortable in themselves.

Omar Apollo inspires, and his competence as a vocalist is unmistakable on ‘Ivory’. Conflating his electro-pop tendencies with the occasional stride of a campfire guitar, he turns everything he touches to glistening radio gold.

Boards of Canada have created a fascinating vision, one that will reveal more and more gifts over time.

This collection allows his masterful lyrics and song-craft to shone through unfiltered.

This is an album then of irresistible forward momentum; brutal and gentle, alien and human.

While the record does, on occasion, feel weighed down by its own existentialism - the more explicit musings on existence that open (‘I Am’) and close (‘Human’) the record notably - the rich sonic palette and Jehnny’s steely delivery ultimately win out.

Throughout, they still manage to delve into the perfectly-formed vignettes and clear-cut imagery that litter their early efforts, but the striking instrumentation allows their lyrics--and more importantly, their stories--to hit that much harder, making Holy Ghost a truly brilliant full-length.

On ‘hugo’, Loyle Carner proves his willingness to take risks and it pays off. While it feels like we’re still waiting on a total knockout from him, his lyrical progress and appetite for new sonic territories on ‘hugo’ suggests he’s verging ever closer.

A very impressive debut. The best thing about it is you get the sense he has only just started.

As with all Dan Deacon albums, 'America' is a challenging listen and at times the sheer amount of things going on becomes a bit much, however it is also a supremely powerful album from a musician at the very top of his game.

On ‘Motordrome’ she returns fresh and reinvigorated. No longer simply living to survive, MØ is having fun being herself.

As expected, the album’s only low moment comes with the introduction of vocals on ‘Richie Sacramento’. Thankfully, this doesn’t last long. The group are soon back on top of things with the majestic ‘Drive The Nail’ and we’re instantly transported back to their uniquely-formed wonderland.

It’s not quite the full spectrum of colours, but there’s an ambitious scale within its palette that allows Arca to craft the textural masterpiece that Xen quite often hints at being.

In her journey to rediscover her own strength Banoffee has created a remarkable pop opus unquestionably destined to empower the marginalised.

Darkness and doom prevail. Just how enjoyable that is depends entirely on how much you are prepared to embrace the darkness, and to submit to Ethel Cain’s semi-fictional world.

‘Music’ is clean listening at its finest. The formula works well but that doesn’t mean the LP is lacking in surprises.

While Muncie Girls might tread relatively familiar musical territory on From Caplan to Belsize, it’s Hekt’s acerbic, no-frills lyricism that shines brightest.