Interestingly the relationship described in Tenderness is between Standell and a new lover, which you would expect to be a difficult topic for Blue Hawaii to collaborate on, but they are alarmingly mature in the way they support each other on this musical project.

Ratboys have been a perennially underrated indie act for the best part of a decade, a steadily excellent band on the verge of proverbial explosion. With the hooks, heart, and heaviness packed into Singin’ To An Empty Chair’s 50 mins, their time could well be now.

Doing what it says on the tin, My Soft Machine is powerfully subtle, and reasserts Parks’ ability to capture and alleviate negative emotions, while simultaneously furthering her exploration of the sound that put her on the map.

They sometimes leave an uncatered desire for more lyrical depth. In several cases, however, the electrifying music makes up for what’s unfulfilled.

Thankfully, Mutator proves that Vega was capable of moments of excellence, even without his Suicide co-pilot Martin Rev. These are great songs, and wonderful additions to Vega’s ever-expanding back catalogue.

An album this strong, delivered this late into an artist’s career, would usually be given an ugly tag like “return to form” or something equally crass. However, in Byrne’s case, it’s simply a continuation of what has been--and will hopefully continue to be--a glittering career full of highlights and continuations of form.

Oceanside Countryside provides a snapshot of Young in the middle of his 1970s winning streak, possibly the most creatively fertile run that any songwriter has ever had the good fortune to find themselves in.

Not only is Gold-Diggers Sound the most cohesive release Bridges has put out to date, it’s also the most distinctive.

It’s a worldly record in many ways, and though the core tenet is of his personal feelings, it works just as well as you what you’d probably assume the record to be about--abandoned cities.

With Soft Sound From Another Planet, Michelle Zauner has moved beyond mourning to a solace far more celestial, communicating her grief through these poignant musical prayers aimed directly at the heavens and beyond.

Combining the pop world’s two biggest current loves--forward-thinking dance music and throwback soul/funk--Jungle are ticking every box on the ‘perfect debut’ checklist, and they’re doing it with pizazz.

While thank u, next is probably her best work – and it will probably remain that way forever – Positions is Grande’s most carefree, most playful, most mature work to date.

Her introspection has not only led to her most vulnerable and earnest record but also a display of everything she has worked towards over her career.

Playful yet profound, baffling but very beautiful, sticking with Panda Bear Meets The Grim Reaper until it reveals its full dizzying array of riches most certainly is [worthwhile].

With Älskar, Nina Nesbitt has profoundly demonstrated her knack at penning emotive, and sonically layered numbers that range from classic-pop to piano-ballad cuts.

Hell-On is one of Case's moodiest solo records to date.

McDonald, Thompson, and Hellmrich seem more artistically and energetically in sync than ever, reveling in their opportunities and impressive talents.

The album’s OTT closer “Sweetest Devotion” doesn’t really provide the conclusion you want either. Despite that, there’s a very good record in here, propped up by a some incredible modern classics (“Hello”, “Remedy”, “When Were Young”, “Love in the Dark”).

Surrender to the Fantasy is a timely reminder that Elisa Ambrogio and Peter Nolan are a truly talented pair of musicians, making some of the best noise-rock you’re likely to find in either the US or on these shores.

Like the tightrope act of love itself, Love’s Crushing Diamond perseveres through calculated effort never to offend or betray the trust of its betrothed listener.

Her vocal dynamism translates particularly well in rock-leaning settings, where her leaping registers make their way through enthralling kicks and mean guitar riffs.

Content wise, Glow is everything you could want from a dance artist’s debut album. It’s produced well, it’s cheeky in parts, dark and suggestive in others and varied enough in regards to genre.

Space is primarily given to the meditative on The Joy Formidable’s fifth album, a dynamic achieved without sacrificing the blisteringly euphoric appeal that has ensured their longevity.

By Night, apparently named due to the smash and grab nature of late-night studio sessions, is muscular, robust and takes no prisoners. It does its noisy thing swiftly, leaving you feeling shattered and somewhat dazed afterward. A perfect representation of punk rock in 2019, then.

It's a bravura performance from all concerned; for all the album's unquestionable strengths, you may wish for a drop more of the same raw sawdust-kicking passion and bite during some of the more restrained proceedings that follow.

The band demonstrate the excitement bubbling beneath the surface of the UK rock scene, ready to pierce through its thin veil at any moment – Reeling is that moment for The Mysterines, and it’s a debut you won’t forget in a hurry.

I'd Be Lying If I Said I Didn't Care is not an easy listen. It's a cold lake on a summer's day – not immediately comforting, but if you commit to the activity, you'll be unaware of how long you've been enjoying it. The overarching feeling of optimism keeps the record above water and prevents it from falling into an unenjoyable experience.

Musically and thematically, everything about Little Fictions’ gestation has conspired to create arguably the most taut and urgent album of Elbow’s career.