In its final form, Wilsen’s debut is big and bright, melodic guitar lines sprinkled across the whole thing.

Peckham three-piece Little Cub make electronic music with a human heart, Dominic Gore’s observant lyrics adding depth to the analogue synth lines and snapping beats that propel them.

It’s a confident release from a seasoned band still harbouring the energies of youth. Somewhat paradoxically however, it’s also a considered record, one that muses on the transient and a reminder of the importance of being able to appreciate what we’ve got, while we’ve got it.

From the hyperactive ‘Momentz’, which sees De La Soul returning to the fold once more, to the creepy, intense Grace Jones-featuring ‘Charger’, Humanz is by far the weirdest Gorillaz album ever released, and a struggle to get through in one sitting. There’s a certain cohesion here though, largely focused around dissatisfaction and rallying together.

While it’s not always the easiest of listens, the raw emotional honesty and potency of her arrangements makes it truly a pleasure to have Leslie Feist back.

Ultimately, though, it’s Pulido’s steady hand that brings an assured, if occasionally slight, album together where there was so much potential for these heavyweights to step on each other’s toes.

Bolder, brighter and better than ever, Waiting A Lifetime is the sound of a band having fun being free.

He’s created an admittedly imperfect but nonetheless loving ode to some of the greatest milestones in electronic music.

As a lyrical and moral experiment it’s touching and does what it sets out to; as an auditory experience... not so much.

They’ve created a huge, rich, brilliant documentation of youth, one which will last for years.

Overall, Write In shows that, beneath their more leftfield influences, Happyness have it in them to be classic songwriters of considerable skill.

L.A. Divine is simply too rigid for Willett to shine. Joe Plummer, while undeniably talented, is a less subtle drummer than Matt Aveiro and locks Willett into predictable, percussive grids that give his voice a jarringly artificial, almost showtune quality.

A lot of the record shows a lack of streamlining, or a singular focus. If album four sees San Fermin filtering through the bucketloads of promise on show here, there’s something really special on the horizon.

On all the evidence here, The Big Moon have succeeded in unearthing the secret to a fire debut.

Dry wit and effortless elegance run throughout, which makes cinematic, poetic wonderment out of eye rolls and humongous sighs.

Whiteout Conditions is a consistently engaging and occasionally irresistible collection of pop songs, carried off with the unmistakable assurance of old hands.

Sincerely, Future Pollution is in some ways a perfect representation of our conflicted, uncertain times, but it also makes the record a challenging, uncompromising listen.

She hasn’t managed to effectively distill her many ideas into something that sounds cohesive After seven years away, that feels like a bit of a let-down.

On The Far Field Future Islands have captured their humanity in all its sparkling, chaotic glory.

Packed with wit, super-sharp song-writing, and charged with Diet Cig’s now-distinctive personality, Swear I’m Good At This should probably be called ‘Swear I’m Fucking Ace At This’ instead for higher accuracy levels.

It’s verbose and it aims high and it’s not a record you can stick on in the background while you play Candy Crush. But unplug from this modern game of life just for a little while and it’s a very, very special reward indeed.

A innovative, inventive joy, Crawl Space is a bold first album from an artist likely to stick around for the long haul.

This is a record dedicated to every band who’ve had to scrape together every last penny just to stay alive, and the result is an album that yearns to be heard.

Silver/Lead is an accomplished record from a band who continue to challenge their audience.

There’s a minimalism in places here that even ardent fans might find a touch disappointing given how predisposed she normally is to extrapolating on her ideas. In fairness, though, the whole point of Documents is to capture the sound of a band, still hot from the road, bringing that energy to the studio. In the Same Room delivers.

Will and Alison will probably shift gears again on their next album, but Silver Eye is likely to become a standout record in their ever-morphing canon.

The eight-minute sprawl of ‘Don’t Blame Yourself’, too, is wildly self-indulgent and could have had at least a couple of minutes lopped off. Ultimately, though, he sounds rejuvenated on Star Stuff, and that bodes well for whatever he has lined up next.

Ending with the sprawling ‘Alone Piano’, the record catapults to spheres beyond. Standing open-armed and resolute for whatever might follow, Let The Dancers Inherit The Earth is an echoing cry for a bright tomorrow.