The album closers says “Bon Voyage” in style – with a short but infectious final offering. At just over the three minute mark, sultry vocals dominate – making sure that Viva Hinds is not a record to be forgotten, but sweetly lingers.

Lenderman has produced his clearest vision yet of what it looks like when the saddest & funniest people in the room are the same guy.

It's a soothing, uplifting listen, perfect for those moments when you need a gentle, positive presence in the background. But for those seeking something more, something that challenges the boundaries of what Tycho can do, this album may leave you wanting.

Slater is adept at wrenching every available feeling from a short stint of words, a talent that's gestated wonderfully as the band have found their feet.

Talkie Talkie is a triumphant follow-up to their debut. It sparkles intensely has tonnes of shiny charisma and sustains its shape while trying new things in the second half.

It’s direct, angry, and often joyful – a reminder that making good music well is always worth doing.

Quantum Baby is relaxed and a little uncomplicated but continues her dependable streak as an athlete, sex icon, visionary, and artist rolled into one. The best part is she’s never satisfied staying still.

Wild God is a markedly widescreen offering: the album very literally features both bells and whistles. However, maximalist palette is applied with rare subtlety and appreciation for the alluring spaces between notes, and The Bad Seeds rhythm section (including the inimitable drumming of Thomas Wydler, back in the fold following health problems) infuse the proceedings with an earthy, robust pulse.

YOU’LL HAVE TO LOSE SOMETHING is by far the band’s most straightforward record. This isn’t to say however they have lost what makes them one of the most progressive bands around; sonic textures still overlay collages of obscure samples, whilst the method of individual members writing separate streams of consciousness verses before coming together to record still creates enviable levels of lyrical surrealism.

[James] Ford's renowned ability to bring together ambitiously decadent ideas reigns supreme here. Helping orchestrate a throughline of this patchwork of ideas pays dividends as the grander character and geographical work of their past makes way for more personal offerings as they turn inward, processing the world they inhabit, rather than the one they've mused upon previously.

Short n’ Sweet may arrive at the right time for her, but it’s often too tame, too comfy and untidy – a designated mainstream rather than artistic breakthrough.

Imaginal Disk is a testament to good old-fashioned artistry – it’s the product of a band intensely honing what they want to sound like and ending up with a style so unique that it’s barely possible to describe. It’s dorky and strange and dramatic, like the duo themselves. And it sounds like nothing I’ve ever heard.

In seizing control of the means of production, they’ve reached a new peak and have never sounded so accessible. This is music to cry and party to at the same time. They’ll eviscerate you and you’ll thank them for the privilege.

You might call Forever 2024’s ear worm central.

Paradise State of Mind is a refreshing modern offering from the LA-duo, their numbers may have dwindled by half, but their sound is bigger than ever.

The overall resilience also feels like 86TVs represents a brand new day rather than solely an echo of their former selves, even if some musical references from the album’s latter half draw from already dry wells.

It could be a little longer, or more cohesive, but not everyone’s sophomore project is as risky – or, interestingly, as relaxed. Bird’s Eye is a gift, and Ravyn Lenae’s on her way up.

Thanks to Rubin’s acoustic method, which encouraged Laus to play solely on an instrument before working on the production, most pieces have attained what may possibly be called “skeletal beauty”.

This album is pretty good – the beats are nice, the rapping is decently energetic and forceful. But in the context of Peggy’s discography, where he’s invariably flowed like all hell over the most original production in recent hip-hop memory, this falls a little flat. I Lay Down My Life For You is good – but it isn’t quite good enough.

While a full band surrounds him, all that functionally matters here is White. The tracks live and die by his presence, not unsurprising given that we’re dealing with a uniquely possessive auteur.

At an impressive bakers-dozen in length, Everything Still Worries Me is an impressive debut record from the rising pop-princess. Abbie Ozard is a sure-fire one to watch.

To the Ghosts finds them in their most solid and mature form to date.

Strange Burden, while infuriatingly short, is paced and produced acutely.

Smile is messy – but so is the existence that Robinson writes about. At times, that makes the album feel unguided. But mostly, this is the first Porter Robinson album that feels entirely like him. That makes for one of the most compelling pieces of art he has ever released.

The record is at its best when we’re having fun with Ice, which seemed to be her initial ethos. But much of the record is unfortunately underbaked.

Happily, this new start feels fresh. HEAVY JELLY could be the ravishing debut from some doe-eyed newcomers with the visceral energy they’re touting this time around, except therein lies a hardened exterior.

I Love You So F***ing Much sees Glass Animals navigate a tricky tightrope between the ascendancy of their last album and a self-knowing tricksiness that accompanied other works – taunting energy that belies ten tracks showcasing the band at their most introspective.

Griff has a talent made for the stage, but Vertigo is often hindered by its avoidance of risks.