The real charm of this record comes in its additional moments of character; the spoken-word interruptions (‘Do Something’) or soundbite introductions (‘She Wants Me Now’) which somehow tie the album together even more tightly.

Cleo Tucker and Harmony Tividad have already proven themselves as songwriters with a great deal of potential, and their debut record properly only confirms that they’re only just getting started.

A showcase of his ability and the things he loves most (Romy and Oliver Sim’s guest spots are a vital part of the LP), it’s the most confident he’s ever sounded.

Whatever the lyrical content, musically every move feels like an affirming one. You’re never more than a short skip from something gigantic.

The record’s constant hums and oohs at times whitewash even Algiers’ loftiest intentions, but the moments of clarity amongst all the murk mark the trio out as something staunchly individual.

Ultimately, it turns out The Darkness are at their worst when doing an impression of themselves, which is exactly what Last Of Our Kind is.

The strength of A.L.L.A is when Rocky dodges the conventional diss tracks and instead tells his story without any strings attached.

The Vaccines still know how to write a direct hit--‘Handsome’, with it’s opening “oh God oh God oh God” panic attack, is still an indie-tastic thrash--but they’ve got other gears too.

By building his own synths and meeting his troubles head-on, Nielson has created a bizarre take on romance, one that for the most part breeds devastating results.

With The Story So Far continuing to write unapologetic good time bangers, pop punk is very much alive.

They might not have returned to their hardcore roots, but Ceremony have veered off into an abyss of misery of despair again, and they’re back on track because of it.

Streamlined and with every moment as vital as the next yet playful and curious, Heydays manages to craft a new path from a well-travelled landscape.

Why Make Sense? is a stripped back affair, an album of emotionally intelligent, lithe, pared back R&B.

In a year that’s seen the heavyweights of the industry fannying about with abstract release plans and bickering over streaming services, Shamir has swept through and delivered a record that schools every one of them in the art of purest pop.

Sprinter is a bruising, brilliant record from a singular talent. It won’t soothe or placate. It’s all teeth.

It’s everything you wouldn’t expect and more.

From start to finish, Vultures is a relentless storm of roaring rock royalty.

Love Songs for Robots is a thoroughly accomplished album that oozes musicality from every reverb-soaked pore.

While the celestial sound-effects sometimes make Saturn’s Pattern sound like the soundtrack to Lost In Space or a retro computer game, generally what you can clearly hear is that Weller is creating music confidently again.

For all his wayfaring tendencies, it’s refreshing to hear an album from Mattson that feels as though he’s found solace in something or someone, and the richer instrumentation never compromises the album’s overall sense of intimacy.

It’s another collection of decent, cheerful indie-pop.

Joanna Gruesome have adapted, honed and stretched their sound on Peanut Butter, and though nothing here sticks in the brain quite like ‘Sugarcrush’ or ‘Secret Surprise’, their tip as one of Britain’s brightest new hopes is more than backed up on this showing.

Eclipse falls flat too often--eclipsing, some might say, the stadium-worthy songs we know he can achieve.

This second album shows that there is more to their schtick than barely tamed chaos.

While Hop Along’s frontwoman’s vocal still acts like a pummelling, emotive and unmistakable instrument, Hop Along’s sound has expanded accordingly on Painted Shut to fully accommodate her storytelling.

Born Under Saturn is a record so vivid it threatens to become visual.

II is an advert to be a whole new generation’s Sonic Youth or Nirvana and on this performance, you’d be foolish not to buy in.

With new tools, they’ve taken liftoff from a proven formula when they really didn’t have to.