‘You Don’t Walk Away From Love’ is an iconic stomp, ‘Silverlined’ is custom-made for arms-around-shoulders festival singalongs, holding court with the best of the foursome’s anthems, while ‘Magnificent’ showcases Harry’s duality perfectly: at one moment, he’s both primed to take on the world, and doubting his every step.

Kin is a hypnotic album on its own merit and needs no elaborate campaign to stand out.

She writes and wears her heart on her sleeve, half-singing, half-sighing through her songs with wide-eyed candour, shining through such swoon-worthy dream- pop. At some point, you’ll wonder if it was Hatchie’s heartache and pain that was written about, or your own.

Just like love itself, it’s an album you will fall for despite (or even because of) its flaws and imperfections as much as the real moments of truth and beauty it provides.

Self-aware but undaunted, every moment sees the band pushing at the walls, daring to take it bigger, promising to make it more open.

For the most part this is a flawless, breathless lap around both pop and "underground" music. 'Devotion' is the sound of modern pop, modern love - and heartbreak.

Gone are the house influences that underpinned his 2016 debut, and in are scratchy demo-sounding guitars, crisp production and gorgeous flourishes of string arrangements. House still lives on in some of the beat arrangements, although it’s presented through more natural-sounding drums which, when stacked against the lo-fi instrumentals, births something fresh and inspired.

A profoundly human listen, which sees the band bow out proudly, for now at least.

There is intelligence and creativity on display here that other bands would do well to pay attention to.

They cast a loving spell over the listener with their optimistic, almost carefree attitude, providing a cosmic, upbeat antidote to chaotic times.

A record of warm and soaring pop-rock that still manages to both delight and intrigue, ‘Palomino’ is the sound of a duo still roaming new territory, but feeling more confident than ever.

Their more collaborative process has brought an album that, while rarely deviating from that Hot Chip sound, feels lighter and freer. Like a band finally feeling confident in their own skin, inviting us to find escape from whatever troubles us in their music.

There's no avoiding the fact 'Blunderbuss' is an album for those already long inducted into the church of Jack White.

A wonderful start.

A little of the opening tracks’ emotional impact is lost in their sugary, pixel-perfect presentation - particularly the otherwise punchy ‘Street Fighter’ – but that aside, ‘Mirror Starts Moving Without Me’ is a rewarding listen.

A fun, full-of-heart pop record that’s 2018’s first big surprise.

‘Suddenly’ is a treat and continues Caribou's knack of releasing albums that are both accessible and explorative.

Despite being a headrush of industrial, electronic blasts, the follow up to debut ‘GOB’ packs a warm heart.

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.

While there’s a constant sense of fun, there’s also always a consciousness about who, or what the Rolling Stones are.

British Road Movies feels like a trip in the truest sense, and representative of that which Jackson herself has gone on: from leader of one of Britain’s most sorely missed bands, via eight years out of the game, to returning as one of its most intriguing new solo artists.

A record that pushes each of its contributors to stamp their own mark, uniting them under the banner of heartbreak but leaving room for each vocalist to twist the blueprint to their own shape.

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

It’s powerfully confronting, unashamedly angry, unrelenting and it’s long. Yet throughout, the band’s mastery guides the album. The ebb and flow, often squeezed into the running time of a single track, is as beautiful as it is disarming.

Sure, if you’re after something revolutionary, this one’s not for you; but ‘ONE MORE TIME…’ instead succeeds in its mission to reinvigorate the trio’s alchemy, and gives the band a much-needed chance to reflect and celebrate for at least one more time.

The result is a sharpening of Speedy Ortiz’s axe to grind. Succinct, wry, and in tune with its context, there’s plenty to unpick, here.

Rented World might not be quite the landmark that it’s predecessor was-- it’s unlikely to be a fixture of too many album of the year lists outside of the punk scene--but regardless of the accolades it may or may not win, it is evidence of a band who know exactly what they want to do, and have little trouble in achieving it.

This stylistic clusterfuck is likely to satisfy those who gobbled up Crack Cloud’s similarly ambitious shift to expansive instrumentation. And if you’re just downright confused by the whole preposterous thing, that’s probably just fine too.