Sivan may indeed only be 23 and while he might not be a gay icon just yet, records like Bloom which clearly and proudly sing about same sex relationships while sounding shiny and polished in all the right places, will certainly help him get there.

This LP is clearly the product of four immensely talented musicians with a clear vision of asphalt soaked in rain and asphalt, the fears of death reflected upon by shining a flashlight through a hazy, ominously beautiful mist.

From the haunting '422', with its echoing chimes, to the dark electro-pop of 'Out of the Black' which features a great guest vocal from Robyn, there are too many stand out moments to take in in just one listen.

At eighteen tracks, it never really drags at any point, and a lot can be said for Butler's captivating songwriting.

Beats skitter, churn, and bubble with a menacingly magical quality but never do they outshine BANKS' vocals.

Pink City is a richly lyrical and instrumental tapestry weaving new life into traditional folk music by placing it in a Canadian backdrop which typifies her interpretation.

Ratchet is instantly likeable and oh so infectious. A great pop album through and through, there's enough here to keep you dancing all through the summer.

This is an album that is adaptable for any mood or setting, so long as the listeners go with the flow and let the music take control.

II does not attempt to reinvent the wheel, but instead just straps rockets onto both sides and lets it fly. And boy, how high it goes.

He has a release that bifurcates between sparkling, let-it-rip takes, over to a self-antagonistic, ball of constructed chaos.

As an album, it hangs together beautifully, avoiding the pitfalls of many concept records with its warm, honest approach.

The Endless Shimmering is such a relief to listen to. It’s not just a correction for the band, it’s also a redemption and a potential catalyst for an exciting new stage in their career as instrumental rock leaders.

What’s also new about this particular Dave Portner is that the overflow of ideas, lyrics, and themes doesn’t turn spastic and blurry like it has on records past. Eucalyptus, though adventurous, is down to earth and focused. It’s by far the most spiritual Avey Tare has ever sounded (except for the transcendent love on AnCo staple ‘Fireworks’).

At Weddings doesn't allow itself to wallow. If anything, it's Tomberlin sharing with us her own form of catharsis, a collection of intimate and powerful songs that sift through life's more disappointing and challenging moments to find the beauty we sometimes overlook.

Careful attention to details grounds the story and makes it believable. You know, insomuch as a tale of transangels can be believable.

Progression is a funny word; in some ways La Dispute are the antithesis of progression, they’re more a freeze-frame of the moments and memories we try to get away from. This ability to cherry-pick these moments and refine them to poems told in a desperate, choked-back, strained delivery is the genius of La Dispute, and the reason they are now one of the pivotal post-hardcore bands of the last decade.

The Midnight Sun is more of an atmospheric experience, than an emotive one. That’s less of a problem than it would seem, because the atmosphere that C Duncan has crafted is mesmerising.

Much like this path's brightest gems, Revelation is unique, yet strangely familiar.

Overall, On Your Own Love Again is a mesmerising, bewitching listen.

Throughout the album we’ve been bathed in guitars and subtle synths, giving the music a hazy immaterial feeling, as if we truly are embedded within the shifting thoughts an overly-active mind.

This is a gratifying song collection.

American Football (LP3)’s sound is more expansive than ever, production is slick and Kinsella’s lyrics have matured along with him.

[The stories] are universal and they are forgiving, and only a songwriter as soft and deft as Kevin Morby could have pulled it off so charmingly.

Brick Body Kids Still Daydream is the very definition of a slow burner. It lacks a track as instantly iconic as ‘Doug Stamper’ off Dark Comedy, but it reveals its layers and details gradually.

Honeybear is rich with sarcasm, flagrant in some places and barely discernable in others. It is impossible to take seriously, but too damn compelling to be dismissed.

Despite the album adopting a confessional structure, the characteristic elements of The Soft Moon’s aggression remains. And it all sounds dirtier, gritter and angrier than ever.

Greenwood gets the concoction right: all of the above culminate in a strong, memorable debut that leaves the listener aching for more.

10 Futures takes Aqualung from the depths of forgotten, one-hit-wonder music territory and brings him back to the surface.