The Orielles succeed in painting a vivid world of colour and flavour to get lost in.

After a decade of dividing between his priorities, this is Dallas finally taking the step out on his own. And it suits him extremely well.

As ever, Amidon mediates between the folk music of his ancestry and the popular music of his day, finding a unique modernity in his marrying of past and present.

In a world of diminishing attention spans, he keeps it moving - most tracks don’t linger longer than 3 minutes, giving the whole thing an inherently vital quality, a record you can let wash over you just as well as getting the party lit.

‘PREY//IV’ does not shy away from Alice’s story; instead, its imagery is violent and visceral, with portraits of isolation (‘PINNED BENEATH LIMBS’) and self harm (‘BABY TEETH’) riddled throughout an album defined by a sort of constant itchiness, a wish to rid itself of trauma by occupying it so fully.

An album that covers this much ground could quickly feel disjointed, yet through painting with broad brush strokes, Mall Grab has cohesively summarised what it is that makes him tick.

‘Contender’ is a marked step forwards from one of Britain’s more endearingly idiosyncratic indie rock outfits.

If you are prepared to enter into the listening experience with open ears and an open mind then you will be rewarded with an album of remarkable completeness that feels like a genuine coming of age for two musicians who are growing a little older with a significant degree of grace.

By and large though they still end up falling on the sword of 'Fever''s brilliance.

While ’40 oz. to Fresno’ is certainly a little less orthodox than we’ve come to expect, it doesn’t matter all that much: their rough-around-the-edges punk still strikes the right chords.

‘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’.

'Cavalcade' is the sound of a band looking to broaden their horizons, but building from a sound already so idiosyncratic and unpredictable, they end up in some head-scratching corners. It's still thrillingly entertaining nonetheless.

Although the ten tracks are by no means light of memorable moments, it's the thrilling range of diverse songs that flow effortlessly that makes Antipodes a debut album to take note of.

Sans-visual accompaniment the album can feel meandering and unfocused. Fortunately, the experimental production and dark atmosphere are compelling in their own right, and ‘Anima’ is ultimately a trip down the rabbit hole worth taking.

This record is completely free of direction changes but at least they are consistent.

George Ezra knows his strengths, he knows his audience, and he’s sticking to it come hell or high water. The result is still yet another charming record that’s hard not to love.

It would be a hard heart indeed not to fall for music as lovely as this.

Sonically, it’s extremely impressive, and almost every song sounds massive. The cavernous sound suits the intensity of the band’s delivery.

The richness of its sounds is what makes ‘Strange Dance’ a warmly familiar, if not entirely compelling listen.

There’s just enough on ‘Everything…’ to ingratiate fans both new and old.

Combined with the hypnotic instrumentation that blankets the record, it's easy to immerse yourself and get lost in its alluring character.

‘As I Try Not to Fall Apart’ is a subtle evolution for White Lies - progress, after a while spent spinning their wheels.

Mason's voice is lazier and more monotone than it ever was on the debut (a good thing) but the infectious nuances and off-beat concepts in the music are still not quite at their 2005 levels.

Dizzee remains in touch with the youthful verve of earlier efforts with ‘E3 AF’, a freshness that, for the most part, is carried throughout.

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.

For all its playful charm, CYRK is deliciously dark: it revels in its ability to marry calmness with the uncomfortable.

It’s easy to see why Sam Fender took the outfit out on his recent UK arena jaunt, possessed as they are with heartfelt songs based in place and time, with a few fist-to-the-chest moments.

It’s hard not to commend Nova Girls for the gripping collision of influences that make up their debut, and their commitment to doing it so forcefully.