Emotional yet playful, soft yet strong, Happyness newest is the sound of a band fully settled in their own skin.

Social despondency and visceral frustration run throughout ‘I Grow Tired But Dare Not Fall Asleep’, a masterful soundtrack to a failing society - one that carries even more weight as we redefine community, connection and togetherness.

A weird and wonderful new offering.

His most experimental release to date.

The results are surprisingly cohesive; Sky Larkin could often be boisterous to the point of verging on bombast, but this is a record that speaks to growing measure and maturity.

‘Song For Our Daughter’ presents a poignant snapshot of the complexities of femininity - both ones imposed by society and ones engrained in Laura’s past. Some moments are remarkably candid.

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.

Earth might be musically faultless, but it lacks the bite of his day job.

It’s a smart pop record that’s doused in self-awareness but still direct in its assertiveness - and never not compelling.

‘Friday Forever’ is a solid record with an intriguing concept that unravels fantastically under Russell’s loosened leash.

Insouciant, effortless cool; shimmering, effervescent melodies that cut through the street-smart danger; the ability to sound vitally alive whilst simultaneously not giving a fuck: all the traits that underpin the band’s best songs are present and correct, from ‘Dancing With Myself’-aping recent single ‘Bad Decisions’, to the twinkling, yearning ‘Selfless’.

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.

Despite some stellar production and sparkling pop moments, it feels like there’s been little evolution in the duo’s sound in the five years since ‘Another Eternity’.

It’s obvious they’re well-practiced at the craft, conjuring up 35 minutes of their trademark melancholy. It’s also an album of firsts for them - newly added keyboard player Marta Cikojevic adds a vital new layer. This in turn frees up vocalist Jane Penny to add a couple of flute solos on the record, which is a pleasant surprise. In fact, it’s the broadness of flavour on the album that is its main strength.

‘Migration Stories’, might be his most impressionistic yet, a collection that began life as eleven woozy instrumentals that came together during sessions in Québec with two members of Arcade Fire, Tim Kingsbury and Richard Reed Parry.

The LP’s darker moments are its most affecting, but the playful brushes of humour throughout never diminish anything; in fact, they make ‘It Is What It Is’ a richer, more human experience.

A record that improves on their second effort, placing them in a strong position to break through even further.

A dazzlingly-polished record that sonically does justice to the boisterous energy of these clever subversions of the kind of melodic indie rock you’d normally associate with Pavement or Built to Spill.

An undoubtedly influential album.

Margaret still sounds the most at home with her string instruments, but her foray into experimenting with electronic music has paid off.

Sorry have somehow managed to mould something immediate and accessible but undeniably in their own image. It’s a truly special debut, one that makes strange magic at every turn.

Another smartly-crafted step forward.

‘High Risk Behaviour’ is a record that’s bound to solidify The Chats’ name as a truly unique proposition.

‘Saint Cloud’ is the rousing of a regenerated spirit that chronicles not just the journey but the revelations of love, life and death that comes with it. A very special album indeed.

By the time closer ‘Boys Will Be Boys’ hits, Dua’s already smashed it out the park, and the euphoric ballad cutting down inequality with her impassioned chorus of “boys will be boys but girls will be women” only further cements what this album has proved: Dua will be going down in pop history as one of the best.

A potent mix of influences, it manages to sound equally focused and effortless - the work of a true performer.

The songs here mostly lack the sonic power and impact of those on its predecessor, but they do accomplish the not inconsiderable task of making Sean’s angular guitars sit alongside Pascal Stevenson’s synths congruously on tracks like ‘Ego’ and ‘Keep Out’. Post-punk bands of various eras have transitioned to new wave over the course of three or four albums, but Moaning have done that with just two.

The leap has definitely paid off - her inimitable voice thrives in the woozy dancehall and afrobeat-inspired ‘First’ and the big pop confidence of ‘Womxn’, but also knows when to take a step back, peppering the record with spoken word segments and heartfelt mantras that tie the whole thing together.