Fleeting is, in sum, an art in the sweet and wholesome worship of nature, it's comforting highs and dark, confusing depths encompassing all the brief human relationships it gives birth to and provides a stage for.

If Neo was hyperpop’s answer to Squarepusher, Lei is our Autechre. IGLOOGHOST has managed to create sounds that feel completely organic and naturalistic yet hyper-digital at the same time - anchored on occasion by violin embellishments, dutifully adding a tragic grit to the songs, stopping them from drifting away. There's a real variety too

Field recordings, earthly elements, human murmurs and heavy breathing mix seamlessly with synthesizers, drums and keyboards to produce a meditative enlightenment, with Jaar and Harrington creating an album based on opposites, successfully uniting the natural with the unnatural.

Every aspect of A Black Mile to the Surface is ambitious and rarely, if ever, does it falter.

It’s a real pleasure listening to the group traverse a new obstacle in working more with external artists. And while this album may lean on them too heavily, this is undoubtedly the same BROCKHAMPTON.

Musically incredible and conceptually spot on.

This is a collection that displays consistently and rigorously the undervalued, underexposed talent of one of the country’s best post-Ray Davies songwriters and one that, despite its length and sometimes haphazard nature is a fitting milestone to this prolific, profound and playful master of the songwriting form.

The album confidently moves between playfulness, tenderness, and grit – often all in one song, as with stand-out tracks “Lose Our Heads” and “Wake Up”. The combination of Jarvis’ gorgeous, versatile vocals, clever lyricism, and the killer beats provided by drummer Robert Mason creates something unwaveringly epic.

As carefree as it is frustrated, as playful as it is temperamental, WILLOW’s lately I feel EVERYTHING is a straight up lively hit of jaded emo bangers that will have a new generation of listeners whipping their hair back and forth.

Pratt sings of trying to trust in love once more, and with On Your Own Love Again we need not look far for proof that her music is a sign of a wonderful, maturing talent that we can believe in.

As with every Neon Indian album, VEGA INTL Night School can feel chaotic, effusive, even overwhelming at times. But, much like the proverbial “bright lights” of the city which provide the inspiration for this LP, it's dazzling, too.

This is a record that moves and moves.

It’s not just Album Time, it’s crazy psychedelic hoo-ha time, and it sounds pretty damn fine.

It combines Molina’s hardcore background with jangling melody perfectly at times, and I wish each song was longer.

To its credit, a lot of the tracks on Physical get to the point at a much earlier stage in their development than they would have done on a FF record, but the creeping intensity of tracks like “Two Different Ways” or “Dial Me In” is missed as a result.

The group sit deeper than ever in their grooves on their third outing, and the moments of tranquillity are even more zen. Mordechai offers a rich, meditative escape from the world, something more welcomed than ever in the current climate.

There’s not much on Alpha that does surprise or show us a new side of Charlotte Day Wilson, but the side she shows us is now so masterfully presented and emotionally rich its not hard to be taken by it.

On The Ship he has managed once again to take listeners somewhere thrilling and new, while rising to the challenge of adding another dimension to a distinctive career filled with innovation and originality.

Although it's great to hear the forever prodigy in a better headspace, more mature and precise with his words and emotions, it was the youthful messiness echoed in past efforts that made King Krule far more intriguing than what listeners will experience under the lingering gloom of Space Heavy.

Near To The Wild Heart Of Life is proof that, while Japandroids are still capable of the cathartic sermons that can lead to hoarse voices and declarations of love, they can break from the formula and deliver something fresh and exciting. It’s still life-affirming, but in a new way.

It’s only six tracks long, and all of the tracks are under seven minutes, but it often feels twice that length. Souleyman’s music has always been intense, but Shlon feels as though it’s been dry-aged, sun-dried and mummified – his voice seems rawer and wilder than ever, the electronics are fiercer and sharper than before, and each of these jams has a sonic gravity you would expect to find in a Berlin club at 2AM.

The ten deft and devastating songs soundtracking this latest instalment flash by in a blur. It’s around the third play that things start falling into place.

Author & Punisher’s Krüller is a sonic purge that rages and recoils in equal measure, enhanced by collaboration, but with Shone remaining the master of ceremonies of his distinctive noise.

Jurado has remained steadfastly allergic to any stereotypical singer-songwriter navel-gazing from day one, and perhaps it’s this aversion to familiar templates that both keeps the masses at an arm’s length and makes albums like Reggae Film Star so richly rewarding for those in the know.

In Spades sees Greg Dulli synthesizing all of his musical and thematic elements seemingly into everything he’s ever wanted.

The electronic elements probably won’t quite be to everybody’s tastes, but even then, the energy with which they’re delivered should be enough to make up for it.

Lux feels refreshing in the freedom and desire to explore new territory, resulting in a win for both.

The Magic proves surreal until the very end, just as promised.