An overwhelmingly intimate record that makes you wonder just what Years & Years could be capable of next.

Streamlined and minimal but bursting with intelligence, humour and ideas, BODEGA are the real deal.

Deafheaven finally look comfortable in their many different skins, their opposing worlds gliding together seamlessly, able to change between brutally heavy and light as air in seconds.

Measured and calm where ‘I, Gemini’ was erratic, and packing some of the strongest pop punches we’ve heard in yonks, Let’s Eat Grandma look like they could go anywhere from here.

High as Hope is an album that takes solace in those closest to her, works to right previous wrongs, and sees her come out the other side a whole lot stronger.

On Bad Witch, Trent Reznor has curated a feeling, an atmosphere, an idea.

If Humanz was a reaction about a world that seemed to be heading to hell, then The Now Now is a more spaced-out affair, stripped of its star-studded collaborations and bathed in the apparent apathy of the modern age.

The songs themselves are invariably linked through a series of euphoric crossovers and trippy interludes that create a strong sense of life within the music.

Granted, his sixth effort is as bonkers and creative as ever, but it could be that less really is more.

It’s punk music with the intelligence of wizened old jazz musicians, and as a chronicle of the band’s hardships, it’s a much-welcome return.

She conveys a depth of emotional exploration in her lyrics that goes beyond even her previous work and sets Petal up as an affecting songwriter.

There’s still barely any light allowed in, but Protomartyr’s prowess at channeling darkness into something cathartic has never been stronger.

The frustration comes from Stains on Silence's propensity for a feeling little bit too rough around the edges, unfinished almost, despite it’s reworking.

It’s not just its hooks sunny disposition that makes Bay Dream the album it is, however. From start to finish, this is one of the finest examples of punk rock songwriting we’ve seen in 2018 so far from a band whose momentum off the back of last album ‘Peach’ should only increase in velocity off the back of this

If there’s anything to criticise Hope Downs for, it’s its risk-averse approach, and tendency to become a one-dimensional listen, but as a debut record, it presents a band that know exactly what they’re doing, and proceed to do it very well indeed.

Melody’s weird medley may not be as accessible as her debut, but it’s a work of art that deserves to be beheld for its impressive and unique innovation.

Sugar & Spice cements her as the modern day successor to dream pop titans Cocteau Twins from the get-go.

The title of serpentwithfeet’s debut full-length soil is perhaps literal then: a return to his roots and a celebration of finally having found his feet.

The singer-songwriter continues along that trajectory with her most cohesive, accomplished and undeniably catchy collection of songs to date.

Enduringly addictive and devoid of arty pretentiousness, MIEN is evidently an album made by true connoisseurs of psychedelic music both old and new. Like-minded audiophiles will find plenty to cheer about across these ten tracks.

1, 2, Kung Fu! is a fun, beautiful, and accomplished reminder of the joy of discovery. It’s the kind of record that encourages you to keep a close ear to its many layers, peeling each one back to reveal a Krautrock pulse here, a soul groove there.

Totalling eight songs and clocking in at just over 30 minutes, Two Parts Together feels surprisingly well-rounded and complete, with strange journeys taking place within each track, and enough crunch to keep things exciting right up to its thundering climax.

Bad Contestant is a stunning debut with two very opposing personalities.

There’s a diversity of stylistic approach and yet a singularity of vision that few artists are able to combine so early on.

It’s a record in its creator’s image; curious, insightful, eclectic and - most of all--good fun, against the odds.

There’s a further sense of spiriting when harps show up on the tracks ‘Limbs’ and ‘Take Him In’, and ultimately this album succeeds as an ominous exercise in atmosphere.

This is clearly an album of personal and musical growth for Lykke Li--it’ll be interesting to see where she goes next.

She’s not quite there yet, but after a wobble that could have sunk lesser personalities, she’s found a sound that feels authentic again. And that’ll do for now.