An album that will follow you for hours, if not days.

It’s at once a fever dream and a museum of Cameron’s dreams, desires, and influences - a postmodern kaleidoscope, if there ever was one.

‘To Hell With It’ is a heady mix of ’00s genres and references that only seem to work together because it’s delivered with just the right amount of earnestness.

There’s no question that a little bit of Lido’s formidable live energy is lost in the translation here, but ‘Miss Colombia’ remains a vibrant, accessible introduction to her boundary-defying body of work.

Her sixth album is a masterpiece, showcasing her ability to meld reliable sound palettes with some audacious new tricks.

Together the pair [Kevin Morby & Aaron Dessner] have crafted perhaps the most vivid and essential record of his career.

It’s a testament to his talents that he can produce an album that encapsulates his weird and beautiful world, which is full of more questions than answers.

Fontaines DC have crafted a clear, unedited picture of who they are and what they’re made of. It’s a joy to witness.

It’s cleverly written and produced too, with motifs (both sonic and lyrical) seeping from one track to the other. In all, this makes ‘Raven’ completely alluring, and offers a soundtrack for melancholic late-night drives through buzzing cities.

Few albums carry the raw emotion of ‘Every Bad’, and carry it with such musical confidence.

With Koi No Yokan the band have not only delivered on their promises, but exceeded them so, whilst remaining one of the most engaging but remarkable heavy bands of our times.

Pushing nearly 30 years in the game, JARV IS... still an absolute one-of-a-kind.

LP1 is a brave first step that she had to take. It’s not perfect, but anything this expressive and personally vital rarely is.

At the end of the day, what Matt Maltese does best is conjure kitchen sink dramedies. And with ‘Krystal’, his ability to do that is as strong as ever. The melodies feel more like accompaniments to the stories; a canvas on which to paint. But the wry yet heartbreaking lyrics that accompany it shows an artist who has grown. As enviably funny as ever, but this time a little more self-aware.

It all feels remarkably familiar, but given the record’s pedigree, that’s far from a bad thing.

In its refusal to sound anything like its alt-pop predecessors, ‘With A Hammer’ is a breath of fresh air: innovative yet familiar, lackadaisically cool yet brave, a brilliant and sparkling window into the future. Its idiosyncrasies, consistently and wonderfully oxymoronic, are its greatest strength.

Their most complete record by a serious stretch, it's a work that laughs, cries, detests, adores and above anything else inspires.

William Doyle is unafraid to bring intellectualism into pop while never letting it feel like an exercise. And ‘Your Wilderness Revisited’ shows that he's kept his knack for mixing the two into a heady blend that’s easy to get lost in.

Both playful and powerful in its delivery, ‘Kitchen Sink’ may be built around the challenges so many of us still face - and are angered by - on a near-daily basis, but it also offers a bit of light and - most importantly - liberating relief.

The singer-songwriter’s most comprehensive release to date, turns up the production slickness while sacrificing none of his affable, boyish charm.

There’s an expert tenderness to her stories and their delivery, one cut through by often-unexpected melodic switches. Her ability to hold back, to seemingly cut a track short, brims with confidence.

Much of Cavetown’s fifth album is as one would expect. ... However then arrives ‘a kind thing to do’ - featuring Pierce The Veil’s Vic Fuentes - which plays with punk-pop revival tropes in captivating ways.

‘Loud Without Noise’ is flawless. Wildly ambitious, it works to showcase perfectly why the Merseysiders have garnered such a fervent fanbase to date – and just how far they could go.

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.

There are points here where it threatens to remain a little samey – the ‘80s radio pop of ‘Yesterday’ quickly becomes repetitive, while ‘ICU’ hints at something more yet never quite gets going – but mostly ‘Sniff More Gritty’ is another solid release.

While at points lingering a little too long, ‘When A Flower Doesn’t Grow’ is a solid outing overall, able to pack a striking punch alongside its messages of genuine substance.

Indian instrumentation adds a new tool to Damon’s sonic arsenal. In the wrong hands, the results could be gimmicky but here the Gorillaz formula never waivers. .... The decision to mine the Eastern take on death - a much more optimistic alternative to our Western one - frequently yields joyful results.

For a project that could have held unreasonable expectations, it overdelivers time and time again. Both parts of the duo are on their A-game in equal parts.