This album is earnest and contemplative.

It’s an album crammed full of massive singles; the musical equivalent of a table full of gaudy, delicious cupcakes. You know too much of it is probably bad for you, but you can’t help but diving in and sampling each and every one with relish.

Green Twins is impeccably tailored and has some gorgeous ideas. What it lacks is the confidence to stretch its colour palette into areas the listener might not immediately associate with other, trailblazing artists.

Dime Trap is very much alive, and having entered his elder statesmen phase with, frankly, astounding grace, T.I. looks to remain present for quite a while.

Morning Phase is a terrific mood piece and a worthy follow-up, even if in spirit only, to Sea Change; it lacks the gripping unease of that album, but replaces it capably with genuine warmth and a sunnier outlook.

Overall Capacity is an album brimming over with emotion and love, giving us a sharp and unforgettable insight into this person’s acute view of the human condition.

The Talkies is rough around the edges, is of a debased, primal nature, yet is incredibly on-point with the unsettling atmosphere it communicates. Girl Band is officially the crown jewel of Irish punk, if a beautifully horrific crown jewel.

On his frequently divine debut album, Hayden Thorpe may well be a new man, untethered from his band, adrift in space and time, yet safe in the hermetic seal of an intricately designed vessel, but the desire for human connection will seemingly always bring him out of his shell and back down to solid ground.

They can sneak serious explorations of mental health, of the rise of ISIS, of the political machinations that erode the human connections between us, past their listeners because they have wrapped these high-minded concerns up in a package of eminently re-listenable, deliriously creative pop tunes.

Holiday Destination is musically rich, but its greatest triumph is its concord of convenience and intellect.

Our natural world may not need artistic representation, but there’s few better to reflect upon it than Tim Hecker.

Less an album than an uninhibited exploration of the primal power of metal.

The majority of Fear Inoculum’s songs are more or less interchangeable, achieving the same overall effect in slightly different ways. ... Toolheads will find much to enjoy here, I am sure of it.

Salutations is good, but it is apparent it could have been better. Rather than swing for the fences, Conor and crew settled for a base hit that didn’t move any runners on base.

With Careful, they are no longer the best-kept secret among the dingier crowds, but their music, passion and on-going commitment have placed them close to a league of their own, hopefully lasting throughout the years to come.

Platform is a record that reveals itself slowly. An intelligent, intoxicating electronica record that draws the listener in and revealing new truths as it goes.

Vessel's ambition has exceeded his abilities. By trading in his synth for sheet metal he has lost out on what caused people to stand up and take notice.

His debut album experiments with intense sincerity and captivating subtleties in the lyrics and melodies respectively.

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

A supremely assured, instantly addicting debut, it walks the precarious balance beam between earworm and confessional.

To the gustatory synesthete, listening to Kaytranada's music is probably the equivalent of sucking on a pack of Starburst where all the flavours are orange: refreshing at first, if not a bit sickly in the end.

It’s emotionally rich, and intelligent, and purposeful, and firmly cohesive.

Overall, it’s a massive improvement on the disappointing Issa Album, with 21 Savage showing maturity whilst keeping his dark humour and persona.

Sprinter is a vital album.

Things Will Matter is fine as it is but it feels tantalising, as if there's something more to come from Lonely The Brave.

LUMP is a creation that both composers stressed passed through them and they look upon parentally and this is evident as an articulation of the artistic detail of the contemporary, through Lindsay’s colourful soundscapes.

It is undoubtedly made to be heard in one sitting. It may not always be a comfortable listen over the course of its hour, it will unflinchingly show you its grotesque beauty, and each listener's reactions and visions produced in the face of such peculiarities will be unique.

Floating Points lives up to expectations with this mix. Both intimate and dreamy, Sam takes us on a journey that's very much welcomed.