With Woman on the Internet, she doesn’t sound lost at all. It’s been clear for a while, but this album will smother any doubt: Gartland herself is no longer just a woman on the internet. She’s a glistening popstar; a proficient musician; a scrupulous producer.

Each track is married in evoking a similar sense of a vast misty landscape and hazy melancholic mornings, though the albums finale does this particularly well.

There’s fewer moments of Bird producing fireworks with her vocals throughout Different Kinds Of Light, and while that may leave some early fans feeling somewhat unfulfilled, it’s as strong a sign as any that she’s matured and is operating with a newfound dynamism as a songwriter – there’s more to her than just that huge voice.

They've created something cinematic, pragmatic, and above all, fantastically like nothing we’ve heard from them before.

Meet Me @ The Altar know what they are going for, and they do it well - showing off an undeniable songwriting talent in the process.

Loving In Stereo is a wholehearted triumph for Jungle, yet again delivering something fresh and distinctive to cut through today’s music landscape.

There’s not an ounce of fat, not a wasted moment, not a single beat that doesn’t suit its purpose to the letter. It’s a monolithic testament to a rapper tired of being treated as both the victor and the underdog at once. It’s undeniably clear just which one he is here. King’s Disease II is a victory lap that nonetheless never lets up its pace.

Foxing have crafted an album that expertly balances what drew in old fans in the first place – the borderline-unhinged emotional highs of their early math sound – with fresh, indie rock that is very likely to perk up the ears of new listeners.

While Independence Day doesn’t shine in the same way as the more refined Money Can’t Buy Happiness (executively produced by accolade heavy Dave), it shows a Fredo even hungrier, relentless and refusing to loosen his ties to the street.

Fusing progressive big-beats, deeply personal lyricism and intelligent song-writing, it once again reveals IDER as the indispensable voices of a generation. Utterly compelling listening.

Rashad’s gotten himself straight, and as a result he’s returned triumphantly from his 5-year absence with his best album yet.

We’re All Alone In This Together truly lives up to the quality expected of Dave’s sophomore album and cements him in time as a fallible but even more forthright voice of UK culture.

There's still an amicable charm to Take The Sadness Out Of Saturday Night but, overfilled with internal questioning and no reprieve of an answer, the sadness fails to truly lift.

Some of Creeper's tricks may have become repetitive and predictable, but whichever direction they take after the SD&IV cycle, they probably can't go wrong as long as there are plenty of Greenwood's vocal contributions. The interludes create smooth transitions, guitar crescendos build a gorgeous cinematic effect, especially on the EP's centerpiece "America At Night" and the anthemic "One Of Us", which sounds a bit like Green Day.

On Happier Than Ever the tempo never quite reaches fever pitch; instead, Eilish is content with the tranquillity of tried and tested methods - tentatively pushing boundaries, rather than cranking the distortion up to 10.

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

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

Thirstier seems to spin out of control in the name of artistic development. The daring dip into electronic garners mixed results.

An addicting 46-minute listen that grows with consecutive approaches.

Although Burch indulges herself in lovelorn lyrics for the entirety of the album, she manages to keep everything fresh and clean even when the tempo slows down.

Even while Spiral never quite touches on the grandeur of its predecessor, Jaar and Harrington here appear content as ever laboring over their unique vision.

Yellow has the cosmological foundation, but Thackray sounds nothing like the spiritual jazz artists of the twentieth century, nor like Shabaka Hutchings. She’s a unique voice in the London scene, and, as Yellow shows, her range is vast.

Don’t be fooled by the dry, lilting manner of delivery behind these tracks - each one holds up to close inspection and there is charm to be found in them all.

Unlike the majority of [posthumous releases], Faith speaks to Pop Smoke’s perpetuity in hip-hop’s current context, serving as less of a lament of what could have been and more as a memorial for what was and still is.

Both his tone and skill compliment the instrumental arrangements on each track, often effortlessly switching between his head, the mix and chesty voice are inspiring.

Short and sweet at nine songs, a few struggle to stand alone.

While the cosy acoustic folk of Sling is indebted to her influences — Joni Mitchell, Carole King, the Carpenters — Cottrill makes it wholly her own. ... While it’s a shift from the lovesick alt-pop of Immunity, it’s bound to be a transformative moment in her career. Whether she releases music for years or retires tomorrow, Cottrill can take solace in knowing she’s created something timeless.

By the end of Baw Baw Black Sheep the one thing we’re left wanting more of is Snow himself. His presence feels secondary to the album’s weakest cuts but, when given space to shine, the artist dazzles.