Convenanza is essentially a good time record, a celebration that looks back, but doesn’t forget to put its best foot forward too.

This is awkward, sharp elbowed music that requires time and effort to fully appreciate, yet the complex textures and image-laden, thought provoking lyrics will gradually reveal themselves to those prepared to be patient.

At the centre of all of this, always, are Leschper’s remarkable vocals: brittle and quivering at one moment, bold and unfaltering the next, with an occasional folkish twang of Joanna Newsom or Jessica Pratt, her manner of occasionally over-reaching or stopping short of notes well within her range, her voice cracking at the edges, emphasises the fragility at the emotional core of her songs.... A beautiful album.

Tracks such as the title song and She Lays Down are redundant, bringing down what is otherwise a brave and eclectic comeback from The 1975, one that is sure to divide opinion once again.

Ultimately, Stranger Things sounds more like a band that are more comfortable with what they are doing.

99¢ is slick, soulful and full of the imaginative use of reference points that she is so accomplished at bending to her will. It’s by no means as immediate as Santogold, but its pleasures are plentiful if you give it the time it deserves.

The Blue Hour has finesse, sensitivity and lightness of touch: all the hallmarks of a great modern classical album. In Federico Albanese, we’ve got a new name to watch out for.

Love Yes is a memorable listen, if just a bit too busy at times.

The results are often fascinating. Matmos clearly revel in exploring and manipulating sound, however unlikely the source, and there’s a variety here.

As interesting as Garratt seems on the surface, his debut is constantly attempting to straddle the line between being edgy and different and achieving widespread appeal. Ultimately, it is the latter that wins through and the end result is a record that is highly accomplished, but lacking in any real adventure.

The end result is highly accomplished, viscerally honest and at times hypnotically beautiful, even if it ultimately doesn’t quite live up to its creator’s ambition.

Compared to the low-key and at times melancholic Nocturne, Life Of Pause is a rich and expansive step up that balances the old and the new perfectly to create Wild Nothing’s best album yet.

Lissie’s third album is perhaps a patchy affair, but when it hits its high points it works beautifully. Next time round, a bit less of the FM radio sheen could see her step forward with a truly great record.

Inevitably there are moments when you wished they’d rein it in a little and take a breather from the very many sonic tricks they’re painting with. And you often can’t help but lament the lack of human compassion: the affecting and crafted songwriting of Merriweather Post Pavillion is somewhat lost. But there are glimpses of that capacity on Burglars which has some lovely Beach Boys-esque backing vocals, and many of the tracks are far more intoxicating than their previous record ever offered.

It may be her most mainstream album to date, but as ever with Bulat there’s a subversive and inventive edge lurking under the surface.

The album sounds like what it is, then: a spur-of-the-moment, vinyl-only release, written and recorded for simplicity and speed. On these terms, it succeeds.

It’s perfectly easy to listen to Porches on a superficial level and find beautiful hooks to hang on to, but the real joy of this album is to dip beneath the surface, and see what’s going on underneath.

Despite its name K2.0 is neither a straightforward sequel nor a reboot; rather, a half-familiar formula performed with renewed vigour.

Yet despite the lyrics providing more comical punchlines than your average Adam Sandler film, the lack of variation means Funs Cool comes up just short of being a great début.

Those that prefer a little excitement would probably be best giving the album a miss and checking out the début instead; in all honesty, you’re more likely to find more thrills at one of your ‘old late great great great great great’ grandmother’s knitting and sewing evenings.

Yes, it’s Elton John by numbers, but it’s his talent as a songwriter that has solidified his stature in popular music and that wide appeal will only be further cemented by Wonderful Crazy Night.

Although there’s nothing ostensibly new about this album, the overall feel and vibe running throughout does at least give a feeling of overall unity. These songs have been given a uniquely peaceful freedom.

It’s a slightly uneven collection with some weaker tracks, but nevertheless its creators remain artists whose ability to construct slinky, agile grooves with a dark underbelly is still well worth seeking out.

This New View is pleasant, but a little more of the old fire would be welcome.

Wells is an immense talent, and for those willing to put the time in, there’s so much to enjoy in these dreamlike baroque-pop numbers.

Essentially, Commontime is business as usual for Field Music. If anything the mood is distinctly upbeat this time.

It probably won’t break her out of the cult status in which she’s often resided, but for those who seek it out, it will prove an immensely rewarding listen.

Relaxed but restless. It’s a powerful combination for a successful début--and as Miller is still in her early twenties, greater life experience can only enhance her musical vision.