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.

Hey, I’m Just Like You is a record underpinned by raw emotion, melancholy, and a quiet but clear sense of hope, making for one of the group’s most vital efforts yet.

Hot Motion’s only pitfall comes from frankly how safe it feels. Sure, it’s bigger and brighter than anything Temples have done before, but its whole aesthetic is still nestled deep in their sepia-tinted comfort zone. ... Nevertheless, it’s a solid statement that Temples are alive and kicking, drawing fresh inspo from the past without fading into it themselves.

It’s testament to their skill and commitment that it all hangs together so well. What could brush off as mere novelty instead thrives as an almost unique ability to mix anything and everything within arms reach. By being almost completely unrestrained and unmoderated ‘The Talkies’ can exist in its rawest and most vital form.

What makes ‘A Picture of Good Health’ so vital is the unshakable sense that the gestation of LIFE’s firebrand formula has run parallel to the country’s political spiral. Now, they’re hitting their stride just as the Brexit void looms. Accordingly, this record is indispensable.

The guitars are still awash in reverb, the percussion remains propulsive, and the deceptively complex vocal harmonisation is the axis around which everything else revolves. What’s new is a feeling of genuine exhilaration - on the freewheeling standout ‘Something to Do’, the infuriatingly catchy ‘I’m Far Away’, and on the gentle breeze of ‘At It Again’ especially. ‘Memory’, is music for the love of it, and unabashedly so.

Sure, single ‘Shockwave’ and ‘Be Still’ plod slightly, but Liam’s second is a whole lot more sentimental. ... Elsewhere, love song ‘Halo’ jams like the ‘Stones’ ‘Let’s Spend The Night Together’, the title track hints at later Weller, and - of course - there’s an unmistakeable Beatles-esque guitar solo on ‘Meadow’. All of which are references welcome to anyone who’s stuck around for Liam’s new stuff.

It’s an album which documents a fierce imagination at play; a truly invigorating piece of work that pushes her songwriting forward.

Unexpected, indulgent, and an absolute joy, ‘Metronomy Forever’ is a prophecy to get behind.

While it occasionally feels lacking in the kind of explosive energy that made the band such an impact in the late ‘80s, it still captures the spirit of Pixies in a way that’s extremely satisfying.

It’s still a worthwhile successor to them, of course. It’s just not the world-beater she’s surely capable of.

Fans might see this as a boon - Bainbridge picking up from where they left off before their self-imposed hiatus. To others, it may sound like a missed opportunity to establish themselves as a more cutting-edge artist.

It’s the uniquely sombre and contemplative Iggy Pop album we didn’t realise we needed.

For the rest of us, Natasha’s first real pop effort since ‘Fur and Gold’ is an impressively lean and infectiously hook-laden romp; doomy disco for dark times.

Adam’s still the pied piper of indie, with a skip in his step and charm for days.

Saves The World carries the same weight as its predecessor, but breaks the dark-pop boundaries the band themselves created with their debut. It’s an exhilarating ode to self-preservation and to being your own number one fan.

Their most mature and concise work to date.

His sixth LP employs a rich palate in its production seamlessly blending trap beats with soul samples and orchestral flourishes.

Whether it’s a modern California of wildfires and livestreams, or a nostalgic glance at a James Dean, Marilyn Monroe make-believe - it’s Lana Del Rey’s world, we’re just living it.

They’ve still yet to find that album that feels complete. While their eighth album, Wallop, isn’t quite it, it’s the closest they’ve been for quite a while.

We’re not asking Whitney to soundtrack a raging rebellion, we just want them to make us feel things. Forever Turned Around only partly succeeds.

Playful, weird and genuinely experimental, The S.L.P. is a ride worth getting on.

Painting a tranquil image of friendship and family, at times bordering on escapist, Black Belt Eagle Scout finds both the tenderness in companionship and its fragility.

There are songs here that will stand with some of Ezra Furman’s best work (“I Wanna Be Your Girlfriend” and “Calm Down”) but sometimes its rapid-fire pace makes you wish for that little bit more space.

An album which proves a bit of time off can make a huge difference, Powers sees The Futureheads fight fiercely once again.

The vocal interplay meshes with the restless instrumentation and some of the most layered and considered storytelling that anyone could ask for. For an agitated, hyper collection of weird songs about made up or distorted topics TFS come achingly close to the total package.

Jack Cooper’s soft vocals are so understated that for long sections it feels like an instrumental record, but this only adds to the album’s blissful allure. It’s a delicate piece of work that somehow it manages to feel fully-formed at the same time. And it’s this contradiction that makes it such a compelling piece of work.

Call it chill wave, call it dream pop, call her a bedroom producer - this album’s full of enough variety and adventure to make such generalisations moot. A real triumph.