Li’s latest foray in pop is a brilliant display of growth, both personally and professionally. She once again proves that there’s no such thing as boring in her music.

It’s a cosy record, clean, and good for the soul.

On Noonday Dream, he expands the Cornish landscape that has impacted his previous work and brings in sounds and instruments that spark the imagination for places further afield, in the most exquisite way.

With Daltrey suffering from a serious illness himself mid-way through this recording (the singer had a meningitis infection), this is an affecting album of reflection, survival and celebration both after this, and his work with Johnson in 2014.

Both artists sound far more liberated here than on each of their separate solo projects; it’s a collaboration many will want to continue.

“Sleep All Summer,” which features Archers of Loaf frontman Eric Bachmann brings his harsh vocals to the forefront of the track, which unfortunately make it challenging for Case to standout. But it’s a small flaw in a gorgeously curated record that reveals Case is never really done reinventing herself.

The Future And The Past is a journey of self-discovery brimming with hope and grooves made to help Prass and her listeners find optimism.

Unlike I Love You, Honeybear and Pure Comedy, which were rooted in performativity, God’s Favorite Customer is sincere, raw and melancholy.

Themes of anguish and otherness are littered in Davis’s frequently cliched lyrics, though some listeners will welcome such lyrical clarity.

The Long Sleep is more concerned with the lifecycle, the existential, and, in parts, is more sonically expansive.

His impressive collective of collaborators--John Mayer, Ed Sheeran, Ryan Tedder, Julia Michaels and Khalid--all help foster Mendes’ music into a more mature space.

Wildness is an attempt to return to form, but it’s an unsuccessful one.

Love Is Dead continues to ask questions of the world, but realises they’re not always black and white, or in CHVRCHES case, light or dark.

There’s a delicacy to his songs, lazily ambling along with just a few key elements allowed to flourish; the gentle, echoey guitar winding through “You’ve Got Your Way Of Leaving”, the fuzzy, Yamaha YC30 riff that “Abandoned Buick” is built on, the melancholic piano that appears on “Wildflower”. All of this gives his soft, lilting voice space to shine, and framed by such elegant, pastoral music, his delivery--and his lyrics--do most of the emotional heavy lifting.

For the most part, LaMontagne isn’t reinventing the wheel on his seventh album, but he once again proves his music is as reliably good as ever.

There’s a little of Prince in the sensuousness of certain songs, but Bay doesn’t possess that same crackling sexual energy as the Purple One; he’s more brooding, introspective.

In range, energy and freshness, this may be their best album yet.

While the songs here lack the scuzzy charm of her debut, Tell Me How You Really Feel is a weightier, more direct record.

Providence Canyon is more muscular than its predecessor and, for the most part, a heck of a lot of fun: an 11-song LP recorded in Nashville with Cobb’s Grammy-winning producer/cousin Dave Cobb.

The words themselves are glorious, as frequently absurd and brilliantly imaginative as some of the best sci-fi writers--Arthur C Clarke, Philip K Dick, HG Wells--while the instrumentation recalls their cinematic adaptations, or classic superhero cartoons.

Cosmic Wink’s echoing sound allows a sort of resonant, gigantic intimacy over rhythms of mostly languid steadiness.

Instead of limiting themselves, Beach House are finally embracing all of their creative moments, which have inevitably challenged them to become better artists.

Ry Cooder’s long investigation of the permutations of the blues and possibilities of justice comes to rest here in the religious balm which remains inseparable from American music.

As symbiotic as much of this album is, there are times when the combination of human and machine doesn’t entirely fit.

A stunning return.

Drew has always been a superb writer; and working with the likes of singer-songwriter Foy Vance and Kid Harpoon, he amplifies a well-tested formula of meticulous, modern production with retro-sounding equipment, beneath his old-soul vocals that sing about a futuristic, almost alien landscape.

Be More Kind is certainly a step in a different direction, it still retains much of what everyone fell in love with, while appealing to a much broader audience than ever before.

The 28-year-old musician has amplified his talent on his sophomore record Good Thing.