Twin Atlantic deserves credit for doing more than just leaning into the sound that earned them airplay on Great Divide, and while GLA isn't perfect it points to an exciting direction for the Glasgow outfit.

There’s nothing in the way of a bold step forward on Unseen, which is the wooziest collection of songs they’ve put out in quite a while; this is very much an album for the wee small hours.

On Don’t Let The Kids Win, Jacklin proves herself to be an unlikely alt-country heroine, delivering an impressive, if at times understated, album that shows she has enough wit and wisdom to fill up a canyon or two.

Each sophisticated melody and harmony may seem jarring and sometimes uncomfortable--as is the way with jazz music--but underneath the spiritual solos and out-there notes, there is a simple, familiar sound--and here lies the beauty of the Harmony Of Difference.

Ultimately, Re:member succeeds through the brilliance of its composer’s craftsmanship. The technological advances incorporated are, if not incidental, then very much secondary to an outstandingly humane creativity so consistently in evidence here.

There’s few missteps--a middle section which ventures off discordantly into murkier electronica never quite seems to fit a listen-through. But Wilkinson has once again proved his complete mastery of bottling a certain tone to his music through the right craft of sounds. With Ribbons, he has bottled springtime.

The context, the lyrical content, and the overwhelming volume of their sound kicks and crashes through traumatic themes, providing a cathartic burst of anxious freedom. It’s a record designed to bite chunks out of its listeners, and will probably have the same effect when heard live.

The decidedly straightforward "Curves & Swerves" and the haunting, string-backed "You Don’t Know Me" - are amongst the album’s best. These highlights point to Harvieu as a voice in English music which has been missed and is more than welcome back, and she sounds like someone intent on spinning a rare second chance into something that will stick.

At a time of uncharted fear and oppression that finds the world holding its breath as to what happens next, Mia Gargaret sounds like a vital exhalation. It may be There's Always Glimmer’s quiet sibling, but it still has plenty to say.

They’re all interesting concepts and ideas that work, but together they create a disjointed and bizarre listen.

Only Underworld have truly kept up with the consistency of The Chemical Brothers, and with the scintillating form shown on For That Beautiful Feeling, it’s going to take something really spectacular to catch up.

With tongues remaining cemented firmly in cheeks, Venom is a rip-roaring effort from Wargasm and a testament to their prowess as being “not just any metal band”.

early twenties presents Burns as a talented singer with a distinct lyrical focus.

A Firmer Hand not only cements Hawk’s status as a unique voice in modern culture but also builds anticipation for the exciting directions his future works might take on and off stage.

Each track offers a different facet of the band’s sound revealing more with each listen. Dolores Forever may have titled their album It’s Nothing, but make no mistake - this is something special.

It has the angst and energy we have come to expect, but refined through a miscellany of new sounds and influences while challenging what a Black Honey record can be, shifting away from their punk and grunge roots and cementing their growing reputation.

Although the results skitter unpredictably over genre barriers, often within a single song, the results make total, positively charged, resistance-battering sense.

It’s an album that feels made for technical appreciation, rather than necessarily engaging the listener.

Sincere, moving and musically ambitious.

Microtonic is the sound of a band faithfully heeding their muses.

It definitely helps that You and I are Earth sparkles with Savage’s most direct, open and unabashedly beautiful music to date.

It’s not for the faint hearted, but if you want to venture into the abyss, there’s a decent amount to marvel at. The future moves fast, but 100 Gecs move faster.

It’s a triumph of the UK underground and a singular vision of a band completely detached from their listeners expectations.

Ocean to Ocean ends up being Amos’s best album in recent memory for the way it manages to combine the strengths of her early music while incorporating newfound restraint and perspective.

This is not simply Koi No Yokan 2.0: if anything, its true parallel is White Pony, another moment in the band’s history that seemed to find them catching lightning in a bottle, condensing all of the elements that made their early sound so intriguing together with as-yet-unheard influences and producing a classic in the process.

War & Leisure is an album with a generous helping of highlights, not least because of Miguel’s enviable vocal versatility and affinity for dramatic songcraft, an irresistible combo that sees him playing both hero and villain in his own fantasy.

Here she is not just a musician, but a generational talent capable of creating transfixing otherworlds and, with The Gods We Can Touch, an ethereal masterpiece.

It’s Blur at the top of their game, as they had been, as they should have always been, as they deserve to be.