To some Goldheart Assembly will stand as a fine example of musical romance, but others might not enjoy the beta endearment that washes over the record, and find it dry, maybe even a little dull.

The Beautiful Stories is their liveliest effort to date.

‘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.

Like always, Little Mix shine best when they are deep in their millennial sass. Never shy about breaking a fourth wall in the name of female empowerment.

It’s thrilling stuff but most importantly, with him [Sergio Pizzorno] solely steering the ship, it’s the most authentic this band have sounded in a long time - once again, it feels like they’re capable of going anywhere they want.

The resultant ‘Tropical Gothclub’ is so polished and pristine that the only pity is that it didn’t come sooner. Given the pantheon of rock stars he’s bolstered over the years, Dean has finally earned a little slice of time in his own limelight.

The album’s title suggests consistency, but in fact, it is a thrillingly unpredictable musical journey.

Given its significant personal story - not to mention its lofty title - ‘Death & Love Pt. 1’ could have been an opportunity for the band to explore meatier topics of mortality and aging; instead, this feels like a frustratingly safe exercise in walking well-trodden paths.

‘Everyone Says Hi’ is impeccably constructed and quietly lush – although towards the latter half, it does threaten to straddle the line between ‘quiet’ and ‘background music’.

Taking an unmistakable euphoria and driving it home, with Life Of Pause Wild Nothing might have planted their feet firmly on the ground, but that hasn’t stopped Jack Tatum from creating a soundscape straight from your wooziest daydream.

A very subtle progression from what has come before, it remains to be seen whether 2020-era BBC will capture the hearts and minds of a new generation. But for those who’ve held on in hope of their return, the rewards are fruitful.

Getting to the end is a slog. Sometimes, maybe you can just be a bit too clever for your own good.

A bewitching, and surprisingly diverse debut, it looks like Jillian Banks more than lives up to the hype.

Will SASAMI be challenging those at pop’s top table for their spots any time soon? Perhaps not, but this latest metamorphosis feels invigorating for both the genre, and the singer herself.

Placing air guitar and hairbrush karaoke moments alongside twirling, hands-on-heart emotion, with Stiff, White Denim place all their capabilities on show.

This is perhaps Sigur Rós' most human-sounding album to date, too. Prepped for intimate nights with loved ones and exhausting journeys back home; it's an album that ditches the dramatic and brings in the calm.

A rich, multifaceted insight into contradictory nature of growing up and older, this is Bethany’s finest move yet.

For everything that's come before, For All My Sisters feels like another step up. [Mar 2015, p.71]

Pop-rock deconstructionist, art-rock godfather, Portland father and family man: all these elements come through here and it makes this album a triumph.

Fake Sugar paints Ditto as a more diverse, often even restrained artist than the larynx-shredding punk aggressor of the mid-00s. That said, the more familiar nocturnal stomps of ‘Go Baby Go’ and ‘Do You Want Me To?’ are still the record’s angular highlights but even so--Fake Sugar remains, at times, a surprisingly sweet listen.

Consistent it may not be, but during its finest moments Nobody Knows is unequivocal proof that Beal's artistry is more than capable of surpassing his legend.

‘Leaf Off/The Cave’ and ‘What Will’ are the strongest of the 10 new strands to this web, yet it is hard to assign priorities to what is a consistently good album.

Infinite Summer is the classic case of an album that’s so fully-melded, so self-composed in its identity, that you get the nagging sense of déjà vu, that you’ve been here before, and yet it’s something brand new.

Ultimately, this is the sound of a group looking back at what they’ve achieved individually in order to get that chemistry churning again.

Not everything works on an album that is perhaps slightly too long, however, there is a pleasing sense of ambition to Dan, The Automator’s symphonic productions, tinged with an old school flavour.

The Horrors go several steps further. Fragments of the group's past link together and the future illuminates in unison. Luminous is the album they've been destined to make.

A solid improvement from "All Our Kings Are Dead" but they will need to do more if they want to break into the big time.

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.