They don't shatter boundaries or expectations, but instead provide a grand, bedrock-solid opus stuffed with 10-tonne emotional blows and tranquillity most indie-pop groups shun.

All Love's Legal is the kind of record that reaffirms your faith in the power of music.

Songs ebb and flow between different styles, motifs appear and recede like roadside landmarks glimpsed briefly and passed in a blur. The result is an album that even in its slower moments seems to be constantly pushing forward, a hazy, dreamlike soundtrack to a classic road-trip movie.

Thank You For Today is uninspired but competent and honest, a laudable addendum to an unquantifiably meaningful legacy.

CrasH Talk is an unfortunate example of what can happen when someone gets the creative validation they’ve desired, only to find themselves at an impasse.

Though it may take a few listens to reveal itself, Throws is a playful and inventive album that reveals little rewarding moments with each spin.

It may well be overwhelming in the moment, but Migos have provided us with a lot to unpack as we await whatever comes next. Chances are, you'll like this album far more after the glut of material becomes a tad less staggering over some months.

Seinabo Sey clearly has a fully formed vision in her head of where she wants to take herself musically and Pretend proves that it's just a matter of time before she finally arrives at that place.

What it is, is a nice collection of dark trip-hop pop songs influenced by some great names but without forcing you to remember the name of HÆLOS. A little more substance over style will lead HÆLOS to bigger and better things.

While Cherry Bomb's low moments hold back the album's highlights, hopefully the high points are a sign of things to come.

There's no doubting their technical ability, but it counts for little this time around; the hooks that seemed to be the cornerstone of their songwriting last time out are missing in action on this occasion.

Views, made up of twenty polyrhythmic and eclectically curated tracks, is Toronto's ethos and identity in sonic form, an inside joke between Aubrey Graham and the city he's championed since the start.

Noveller is nothing if not consistent and A Pink Sunset Over No One is another fine example of such success.

The House has moments where it seems like Maine might have said everything he’s capable of saying with Porches. However, there are enough positives, particularly around the end, to feel like he’s not bled his creativity dry.

To combine filmic orchestral scores with the punch of hip-hop, the fun of indie-dance, flavours of funk, nocturnal London sounds, glistening electronica, with such natural fluidity makes War Room Stories a genuine pleasure to listen through; and makes it not just an interesting but an important step forward in highlighting the versatility of "the band", as well as in prolonging its perceived shelf-life.

To its credit, it's very listenable and the band were having fun while recording it. However, the potential in lieu of this makes it that much sadder that Gardens & Villa didn't take more time to polish the sounds of last year's Dunes.

The instrumental experimentation is spot-on, not imposing itself too much on the melodies nor serving as a vehicle for virtuosity; they sound solid and everlasting, yet serene enough to know how to take their music to the next level.

Cameron’s reach for the stars will be a divisive listen. He pulls no punches in creating this character, and the ugly language used to do so, will be viewed as unnecessary by some. But it all hangs together pretty well to create a set of songs that largely transcend the lame pastiches that they can stray close to being.

Sometimes, plucking a dandelion from between the cracks of the sidewalk, "just because", is transcendent. And Seraph is one of the prettiest damn dandelions in quite some time.

It's consistent, thrilling and boasts high replay value.

It's hard to imagine a record more slick and fun than Tuxedo arriving any time soon.

On I’ll Be Your Girl, The Decemberists do a few things well, a few things poorly, and most of them acceptably and nothing more. The fact that it never goes completely off the rails is almost as disappointing as the fact that it never finds its footing or seems interested in doing so.

BBF's effort may not be anything ground breaking, but if you're looking for a solid mix to vibe out to, this could be just the ticket.

Whether the transition marks his last shot at regaining his once dominating presence in the crowded trap-saturated landscape or just Jeezy shifting his purpose and place into a more mature direction, Church in The Streets is a respectable shot at both.

It certainly doesn’t break any new ground, but it’s a committed, charming throwback to the early years post-millennium, when rock did one of its perennial about-faces, away from prog-y electronica and back to the days when wearing leather and ripped white or red t-shirts was actively encouraged.

The hummable, sing-in-the-shower refrains are there, but ultimately, its Wildewoman's lack of identity that limits its appeal.

It's hard to determine the highs, lows and fluctuations of the record. That's not to say that the record all sounds the same, but without the visuals that such music seems to promise it can be difficult to remain engaged.

This is indeed an astonishing and absolutely infectious debut album: the urgency that each and every track is communicated with makes even the smallest detail surface as necessary and never misplaced.