Hideous is able to straddle the line between a celebration of sexuality, whilst going beyond themes purely of self-love and physical exaltation that have come to dominate feel-good pop music in recent years.

With Expert in a Dying Field The Beths have created a bundle of sheer sonic joy that confronts, but doesn’t succumb to, all those neuroses most of us know too well.

Opening themselves up to new concepts and sounds, but retaining their trademark ability to captivate and obliterate in equal measure, listening to Holy Fawn’s Dimensional Bleed inspires a deep, unfading admiration for a truly genre-defying band.

Sampa The Great's latest offering ensures that she will remain a beacon in her home continent of Africa and beyond.

How Do You Burn? ups the ante on its two predecessors going deeper in a richly assured display of Dulli and the band’s abilities.

Over Natural Brown Prom Queen’s 53 minutes and 18 tracks, the Cincinnati-born Parks displays her compositional skills, penchant for winning melodies, and versatility as a performer. Most strikingly, the set documents Parks as she integrates myriad approaches, balancing discipline and the hedonistic impulse.

It’s positively thrilling to witness a band perpetually committed to pushing boundaries and creating music unlike anything else released before it.

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.

The result is a seamless psychedelic synthesis of pop noir, ghostly '60s girl group sounds, Lynchian-style atmospherics, ambient washes and dance floor undertones, there’s nearly always a subliminal sense of unspecified menace or is it simply the deep disorientation that love and desire brings? Surrender and immersion are the only sensible responses.

Though impressive and vaguely explorative, the record falls slightly short of the mark for an outfit aiming to reinvent themselves.

Souvenirs is the creation of a band who have to make music and like all great debuts it’s both a culmination of their beginnings as well as a pointer to the wide open road ahead.

It does feel harsh to pick holes in a record that’s already so visibly bruised by criticism; where credit’s due, the home stretch is much, much stronger.

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.

An album as intimate as it is cinematic. Rose-tinted melodies wrap around delicate harmonies and show off Jónsdóttir’s disarming vocals as she chronicles her experiences of falling in and out of love in the digital age, and 12 tracks feel not quite long enough to experience the ethereal beauty of Laufey’s sonic universe.

On Sound Of The Morning, Pearson proves she has much to show us, and should be recognised as a folk singer of real promise and singular talent.

Its power is found in the band’s ability to trap and pin you down to experience a place unholy – to transport you into their gnarled world that struggles to give way to its inevitable ruins.

It is easy to imagine there are a number of extra levels to reach, and the glimpses he has provided on this album should only serve to increase excitement about what he could do in the near future.

The infectious results deserve to elevate McCombs beyond his durable cult hero status.

As well as succeeding in being both a culturally appropriate expression of catharsis, Care also pushes the band further in their musical development.

Bigger. Messier. does drag a little towards the end – particularly when Elfman’s collaborators show too much respect for the original tracks. (Stu Brooks’ remix of “True” is an example of this: the bassist played with Danny Elfman at Coachella, and you get a sense that he’s a little too close to this music as a result.) But then the album closes out with an absolutely bonkers remix of “Happy” by Little Snake, who somehow manages both to deconstruct the track into smithereens and to enhance its gothic, trippy essence.

All Of Us Flames reveals a perhaps more humble and equanimous Furman, an empathetic artist still committed to truth-telling, still railing against the injustices of the world.

Although PRE PLEASURE is stylistically leaps and bounds from debut album Don’t Let The Kids Win the tenderness and vulnerability of earlier Julia Jacklin albums isn’t lost.

Chopper doesn’t reinvent the wheel, nor does it steer into anything surprising or off kilter, but it definitely shows how nicely the wheel continues to spin.

The LP offers one of the most compelling and honest explorations of addiction in recent musical memory - it’s filled with grizzly, visceral declarations that underscore the stakes at hand.

Filled with high-octane rock-infused instrumentation, demanding lyrics and strong vocal performances, Garageband Superstar is a truly impressive debut from the Isle of Wight's own brightly burgeoning scuzz-pop superstar.

Green’s debut foray into a full-length project highlights and accentuates her brilliant ability of penning narratives and churning out infectious alt-pop cuts.

Freakout/Release features many moments of quintessential Hot Chip fun, but explores other exciting avenues as well. What’s clearly still at the centre though is the heart and love for creativity that this band still have, and it’s a testament to their talent that through all the music they create between them they can still turn out interesting hits in new ways.

As a confident debut, What I Breathe encapsulates exactly what Mall Grab wants us to feel. Weaving multiple genres together through dance and electronic, he shows us what he lives for and what’s pushing him forward.