Overall, ‘Antidepressants’ is a solid, pleasantly dense record from a band who’ve been solid for decades yet.

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

Seeking Thrills sees Georgia lean in much more eagerly on the late-night grooves that have been supporting her breakthrough. ’Started Out’ and ‘About Work The Dancefloor’ make for solid, established openers, but there’s no shortage of other ideas that make complete sense in the soundtrack of modern lives.

A tightrope walk between impulse and laser-point precision, Human Performance is Parquet Courts at their most knotted.

Being aware of the context, it’s not the easiest listen, but it’s extremely rewarding.

A racing sense fun propels much of The Julie Ruin’s latest, and it’s a more refined step forward from the debut.

‘God Said No’ is profound and romantic, decadent and suave, and as ever, Omar is at the helm.

The labyrinthine complexities of human nature are explored here in all their grit and glory, but it’s the combination of Stormzy’s charm and his knack for storytelling that allows ‘H.I.T.H’ to glimmer with a universal appeal that will please both his mainstream audience and grime fans of old; an almost impossible task that he’s amazingly pulled off.

The lushest, most fleshed-out Cola record so far.

Throughout, Andrew’s eccentric lyricism leans away from the paranoia of ‘MGMT’ and ‘Little Dark Age’ and towards a search for love in the midst of darkness; quietly, he and Ben continue to plough their strange pop furrow with aplomb.

1, 2, Kung Fu! is a fun, beautiful, and accomplished reminder of the joy of discovery. It’s the kind of record that encourages you to keep a close ear to its many layers, peeling each one back to reveal a Krautrock pulse here, a soul groove there.

Emotional Education is a thoughtful, carefully-constructed synthpop odyssey, based at its core around the vocal harmonisation by Lily Somerville and Megan Marwick and lent some tasteful gloss by production work from The xx collaborator Rodaidh McDonald as well as duo MyRiot.

Accompanied with her scatter board samples and untold charm, ‘Juno’ is a resounding celebration of existence and Remi Wolf is the MC.

There are whispers of similarity to her queer contemporaries, too, from Shura (’Pandora’s Box’) to Years & Years (’Nightingale’), that make this break-up record much more exciting than its conveyor belt competition.

Between sombre tones and esctasy highs, and with tracks like 'Folk Hero Shtick' and 'Reagan's Skeleton', this will leave you with a grin on your face and a confidence music will keep going.

Crimes of Passion is playful, real, genuine, and just a bit naughty.

This isn’t them superficially cashing in on a new generation’s fascination with ‘indie sleaze’; it’s the sound of songwriting duo Emily Haines and Jimmy Shaw bridging the gap between who they were then and who they are now. Sonically, they do that by leaning into the fundamentals.

Every single moment of ‘A Situation’ feels dreadfully real and groovy as heck, so prepare yourself mentally - you may start to believe the matrix is real.

The album’s most engaging moment arrives in ‘A Portrait Of’. Giving voice to anxieties and doubts only to shatter through them with a screaming crescendo of steadfast resolve, this is the sound of Sorority Noise at their strongest.

We Are The 21st Century Ambassadors Of Peace And Magic is a great full-length debut that is far more than a nostalgia trip.

There's clearly something here, there's an evolution in what Shields is doing. But, is it any good? Yes. Is it better than 'Loveless'? Probably not--and it's unfair to compare it to a predecessor that we've had two decades to live with and love. Given its gestation, it perhaps suffers from being a less cohesive body of work.

This time around, she delivers more of the same: tracks for the club with a sense of restraint and melancholy, as well as a poppy accessibility.

Melody’s weird medley may not be as accessible as her debut, but it’s a work of art that deserves to be beheld for its impressive and unique innovation.

It’s perhaps more cohesive than 2023’s shamefully underrated ‘Good Luck’.

Their second record hits harder, digs deeper and lingers longer than that promising debut, and keeping all eyes on their art proves to be the best statement Preoccupations could ever have offered.

‘Forever’ balances the frivolity of youth with its turbulent realities, all through the sun-kissed lens of the past and the band’s almighty guitar pop sound.

Taiga is more of an achievement than that; it’s the mark of someone who has truly taken their time over their work. Cooped up in a friend’s holiday home in Washington, Nika Roza Danilova crafted a small slice of perfection.

They channel the essence of previous decades. Throughout, the band use a variety of vintage synth tones and guitar and basslines that even Nile Rodgers would kill for.