A 60-minute torrent of positivity, an open-ended love letter to his wife -

Born In The Echoes is a bold reinvention of the Chemical Brothers’ sound, pushing the late-period renaissance that 'Further' heralded to somewhere dark and twisted.

‘CMFT’ isn’t the most profound or intense album Taylor has put his hand to, but it’s certainly the most fun. He sounds in love with life, a man finally free of his darkness.

The instrumentation and overall production are lightyears ahead those of his debut, too. The velvet texture of ‘Everything You Need’ enhances his renowned melodic swagger, as does the tranquil sheen of ‘Rollercoastin’ and the space-age fizz of ‘Paid My Dues’.

On this debut album, Picture Parlour have shown that, in time, they have the skillset and belief to escape the shadow of their idols, and refine their own unique sound that future rock’n’roll bands will be dying to emulate.

The Timothée Chalamet-sampling ‘As If’ sees him defiant and refusing to change. With nods to homophobia and fentanyl addiction, it’s a modern take on bratty emo and the rest of Glaive’s debut album is just as complex.

It’s a showcase for Pusha’s cold-blooded flow and crammed with memorable lines.

Kelis. Genius. Pop auteur. Credible diva. Welcome back.

The five-piece’s debut album is a mini manifesto on harnessing your own power, pooling it with your mates’ and taking on anything the world throws at you.

Though it’s not entirely without precedent, there’s still more than enough innovation here to mark Visiter out as one of the summer’s must-have releases.

‘Culture III’ is more focused than its exhausting 24-track-long predecessor, but a stricter edit here could’ve enhanced the experience even further.

Denser than any of their three albums, New Misery blends catchy solos, beefy drums and thick synth parts indebted to Spiritualized and OMD with Cullen’s voice--which remains evocative of some dreamy American high school utopia.

Working with producer FaltyDL, who’s credited on every track here, Blanco creates a body of work that feels cohesive but not constricted.

Away from the chaos, here’s a record that cuts to the core of Doherty with a little less noise and a little more love.

While he shouldn’t have to answer all his critics, Bridges does so on ‘Good Thing’ with remarkable aplomb. If he was indeed once a rehash of the past, this time he can’t be tied to one specific time, past or present.

‘Loving In Stereo’ might not quite satiate as fully after the delicious hooks of its lead singles, but in elevating Jungle’s pulse overall, McFarland and Lloyd-Watson have captured what feels like a natural and necessary progression – and a fun, danceable one at that.

It’s not only the consistent songwriting clout that elevates this album from recent efforts by Grande’s teen-star peers, Demi Lovato and Selena Gomez. Even if most of it is co-written, the modish message of empowerment feels honest coming from Grande.

On her second album, Kiesza has defied the odds and made a solid comeback to the pop world. ‘Crave’ is a very promising – and very fun – hint at even bigger and better things to come.

FSOL fans may not be impressed. But for connoiseurs of sprawling, loony progtronica, this other-worldly masterpiece is so far out you need a telescope to see it.

It all harks back to the word-in-your-ear confessionals of ‘Fevers And Mirrors’. Were it not for the whimsical, country-tropical jangle of ‘Hundreds Of Ways’, Upside Down Mountain would very nearly be its equal.

Despite its subject matter, the record’s production and graceful composition prove more calming than dizzying.

It's a gripping darkness that doesn't often lift. It's hard going, but it's worth it, and that is undoubtedly their point.

The barbed musings on dead scenes (‘Dull Boy’) and vacuous hipsters (the aforementioned ‘Big Toe’) add lyrical bite to an album that, sonically, barely strays from good vibes territory.

Pushing the boundaries of their sound and leaning into pointed lyricism, this record is a welcome new chapter for the band.

The Bedlam In Goliath has its unnecessary extravagances but it’s still a grand catharsis from the forces of evil. Or, for those unwilling to allow a little imagination into their lives, just a really fucking good record.

It’s terrific nonetheless, a coiling gothica sci-fi soundtrack that cocoons Richard Pike’s echo-soaked vocal amid pulsing, binary-code electronics.

‘Careful What You Wish For’s quality--along with that of everything else here, not least the closing ‘Silent Night’, featuring a full church choir epically utilised to yank up every hair on the back of the listener’s neck--re-confirms Glasvegas’ position as the most exciting British band right now.

Though ‘Comfort To Me’ retains The Sniffers’ talent for a rowdy rock’n’roll track – the largely instrumental ‘Don’t Need A Cunt Like You (To Love Me)’ blazes in and out of view with one-and-a-half minutes – it also shows a more reflective side to the band amid the silliness.