Easily overlooking the occasional overindulgence, AudioLust & HigherLove offers no lacklustre moments to speak of. If you love the dancefloor and are willing to expand your tastes a little, this is the album you need to blast on repeat.

In many ways it’s a simple record, favouring technique over technology and to-the-point lyrics rather than those that miss the point completely.

Teleman have made a damn good start.

Heidecker has been releasing music for the past eight years in various forms, but it’s a blast to see him strike out on his own and create an album that is sharp, insightful, and often hysterical.

On her debut LP, Lola Kirke offers up an impressive set of songs, putting her own spin on the ‘70s rock and 21st century country for which her family name is famous.

What Kinda Music also features an unlikely collaboration with acclaimed MC Freddie Gibbs. Sonically, it fits perfectly: the Misch / Dayes project is not far off from Gibbs’ main production collaborator Madlib.

It’s the moments of clumsy transitions, erratic woodwind inclusions and underwhelming choruses however that throw some doubt on that suggestion, but there's still much to love on Girl.

While Praxis Makes Perfect does boast some terrific, shimmering, moments, it simultaneously puts hurdles in the way of an easy listen, especially towards the end where it all gets a bit... well, dull.

In the end, Ununiform has it's peaks and valleys.

Innerworld is a bit of a mixed bag, but one that's absolutely worth dipping into--every now and then you'll pull out some real gems.

The moment that you think you have She-Devils figured out is when it will catch you off balance and dig its horns in.

While the folk-essence lies below and often comes through in its truest form, the developments are clear and passionately welcomed all across Vide Noir. Where a band like Mumford & Sons abandoned ship from their beginnings to a mixed result, it sounds like Lord Huron have managed to evolve forward incorporating electric elements in a major way without forfeiting any kind of integrity.

Ultimately needing her record to be “Cinematic and dreamy”, Nash utilises her boundless creativity to deliver layered soundscapes and intricate narratives in arguably, her most honest and personal project.

There's still an amicable charm to Take The Sadness Out Of Saturday Night but, overfilled with internal questioning and no reprieve of an answer, the sadness fails to truly lift.

It sometimes feels as though the sun has risen and those attempting to keep the party alive are fighting a losing battle. And a carnival with fighting of any kind is surely missing the point.

There are plenty of small discoveries to be found within each of With Love‘s intricate sound trips, but there is enough mystery and intrigue injected into each textured layer to keep you wanting to find new ways to get lost.

The constant zigzag between tempos and moods is tiring. The album is a true testament to her strengths as a lyricist and melodic writer but should have been allowed to be as chaotic as it first seemed to promise.

Iif Lo Tom lands somewhere between dumb hard fun and thoughtful jangle it likely wasn’t a creative direction anyone agonized over.

Disposable lyrics and an overly polished sound doesn’t necessarily mean that this is a bad album, though--it’s not, although it is likely to get lost in the midst of this year’s more thought-provoking and risk-taking albums.

Young Narrator in the Breakers isn’t shackled with deference or reverence. It balances musical intelligence with elegance, orchestrated chamber music with disco and in doing so shows a band in possession of not only a brilliant record collection, but the imagination to transcend it.

One of Chung’s strengths is not overstuffing his music, but there are moments where Parallels’ nonchalance makes it feel like less of a full album and more of a holdover between more momentous projects.

By leaning into their maximalist tendencies on Lust For Youth, the introspection that really marked this project out is lost among a smorgasbord of other people’s sounds.

Yes, the album could do with some variation in its sound and a few more wildcard tracks to switch things up a bit, but overall, MOSS is a gorgeous outing for Maya Hawke.

Beautiful Thing shows the other end of Alexis Taylors talents as both a songwriter and a musician, and it’s time that more discovered them.

“Brillo De Facto” prove vaguely purposeful efforts on the surface here, a second, third and fourth listen reveals a band seemingly bereft of inspiration, regurgitating tame Fallisms with--and it really pains your writer to say it--riffs conjuring every middling young rural pub rock band of the early Noughties.

This time round, despite still being pretty transparent with their influences, they are not totally overcome by them, and it results in The Voyeurs making a collection of songs more than worthy of a surreptitious peek.

This record blurs the lines between religion and atheism--it's a vital challenge to the inflexible labels that we are often asked to identify ourselves by. Alongside this, musical traits indicative of Glasgow greats see them nestle nicely into a thriving scene.

With the tactful musicianship of Holland Baroque thrown in for good measure, Confessions is a record of bottomless charm.