Life Without Sound is a triumph of Baldi’s vision--for something bigger than just hard and heavy punk, and for rock and roll with pop intelligence. He’s pulled off both here.

It’s a record as much about falling apart as it is putting yourself back together and undoubtedly one of the debuts of the year so far.

It may not astound, but like a visit from an understanding friend, it’s nice to have to lean on.

For a debut, the album has a spacious sound, and that can also be accounted for by Milosh and Hannibal’s music history which predates Rhye by nearly a decade.

This album has it all, and listeners who crave forward-thinking, statement-making pop will find homes with “Gay Agenda”, “Cisgender”, and “Abomination”, while those less involved can relax with the jams of “Cold Brew", “Nuclear”, and “Stability”.

Overall, Days Are Gone showcases the band’s individual strengths that have been pulled together to create a collective group with intensity and depth of potential.

These more polished but less straight-forward songs makes for their least instantly gratifying collection, but leaves a strong feeling that in the long-term it might become the most rewarding yet.

Overall, Paradise is another thrilling entry into White Lung’s catalogue that proves the band still has plenty of exciting new ground to crush beneath their heel.

Vol. 2 probably won't win PC Music many new fans or converts, but it'll satiate die hards and offer those who listen closely just enough deviation from a successful formula.

Pure Luxury’s strengths issue from the way it commits wholeheartedly to a brash sonic blueprint, the unremittingly sleek surface polish sharpening its underlying social commentary - Lovett’s songwriting at its most multi-layered.

Three Mile Ditch is raw and absorbing, and it deserves our full attention.

Radiate Like This is a characteristically joined-up effort from the close-knit group, underscoring the strength of their musical bond – its only hindrance being the occasional pang of déjà vu.

Flood is a superb album, by an artist who hasn’t even given us a glimpse of her potential. It’s charming and enjoyable and engaging and attractive and all of the adjectives you could ever want out of an indie-pop record - and not only does it hold up to multiple listens, it actually seems to expand and grow in stature with each run-through.

Cyclamen is immaculately crafted and the arrangements themselves would be worthy of praise regardless of whose name was attached to them, but it’s Graham’s razor-sharp lyricism and vivid vocal delivery that gives the music real heart and therefore makes the LP worthy of listeners time.

Joy'All ends up being a bit of everything and never establishing a clear enough character. The injection of joy is refreshing yet contrived, and all the simultaneous changes seem too big of an undertaking for her collaborators, who are not able to cultivate her sound.

Each track comes with a reminder of how trauma makes monsters of us all, but in the centre of it all Danilova’s strong, clear voice is the will to keep going.

Although it’s not as vital as his early work, it’s a fun and confident return from one of the kings of grime. Long may he reign.

It's an instrumental record, as probably is to be expected, and those looking for the kind of emotional depth (beyond primal urges and base fear) or commentary might be a bit disappointed. Nonetheless, that minor point will probably be a non-issue, totally overshadowed the devastation in play.

Migos never try to recreate anything they’ve already done, but simply deliver more music that reflects their contagious, unadulterated flow. Culture is an album where they seize a moment of much-deserved success.

Oh Death is another chapter in the book, another highway, another impressive set of songs. If only all bands were this consistent.

And I Have Been glides like a meticulous record full of cryptic, meaningful occurrences. Even if it’s unadorned, it still clicks.

Though acoustic tonality may appear muddy, the confident voice of Supermodels reigns loud and clear.

Unforgettable, powerful, and easygoing all at once, Ragu’s maximalist debut is a special mark on the landscape from a new pop disruptor.

Sola concludes Peacemaker much as she launches it, striking a sublime balance between pop know-how and theatrical flair.

All in all, BITE ME is a lot of fun, like watching the drama unfold when you’re comfortably not involved. Reneé Rapp has solidified her place in today’s pop scene, and here’s hoping with a third record she’ll rock the boat.

Death Jokes is a complex chasm of fractured, intertwining ideas, songs that grasp for purpose, songs with drops of sorts.

Perhaps that great crossover will now never happen, but they’ve made a refreshing, bold record here, that, a few trips aside, leaps the barriers of genre with ease and satisfies throughout.

Sukierae’s the kind of a record where almost every listen provides different favourite moments. That has to be a very good indicator of its overall merits.