No matter your view, Scaled And Icy is Twenty One Pilot’s at their most fun, and while it’s not a home run, as a society it’s a time for exploration and change, and the duo have pasted the pastel colours on heavy ready for when the sunshine decides to grace us with its presence.

Seeking New Gods is a fantastic album – and certainly one of Rhys’s best. No matter how odd the concept, or how strange the inspiration, each album that Gruff Rhys releases seems to prove that he couldn’t make a bad one if he tried.

An album full of calming energy, with vibes to soothe the soul and the mind, and put a smile on your face.

She has a knack for building tension, crescendoing her voice and emoting her words to a point where it almost rings as euphoric.

Clocking in at sixty-two-minutes, Intruder finds Gary Numan undeterred in continuing to push at the buttons of a world increasingly devoted to its own demise.

It’s a rich tapestry of sounds that comes straight from the heart. That might be Marten’s secret ingredient: no matter how left-field the compositions are, whether warming or breaking, there’s always a lot of heart in the music.

Ultimately, Indian Yard doesn’t really leave the listener knowing Ya Tseen. But some songs do hint at a distinctive identity.

Mdou Moctar’s energy for revolution is full force experience, as exhilarating as it is inspiring, and it is made more powerful by his sincere love and understanding of the Tuareg tradition. Afrique Victime bottles this fervency not only so more can engage with this resistance and its ideas, but also so we can be reminded of the nature of true rock 'n' roll rebellion.

Allow a while for these songs to seep in, and The Monster Who Hated Pennsylvania will leave you deeply moved, and desperate for more.

They’re all interesting concepts and ideas that work, but together they create a disjointed and bizarre listen.

Young Heart is consistent from start to finish. While it won’t necessarily ruffle many feathers, it’s a coherent addition to an already charming catalogue from Birdy.

The immense variety on this record does not come at the expense of cohesiveness nor its ability to progress the themes of the ensemble’s previous work.

Forget everything you thought you knew about St. Vincent, because this is Annie Clark 2.0, beamed in from an alternate reality, ready to blow your mind. Daddy’s home, and she’s sounding better than ever.

While Forever Isn’t Long Enough doesn’t venture far off the beaten track with its lyrical content, the musical arrangement and writing on each and every song is a joy to listen to. Templeman’s songwriting is unmatched amongst his fellow 18-year-old musicians, displaying both a successful present and a bright future.

Blood Bunny is reassuring, and as a body of work is an example not just of someone going through this same turbulence, but flourishing regardless.

It looks at dodie from every angle, finding her at her most broken, joyous, angry and reflective, among instrumentals that capture the same conflicting pulls. Where Build A Problem succeeds most is translating these struggles into towering drama, making music to listen to closely, feel deeply, and champion loudly.

The second half passes with little to no note, leaving a yearning for perhaps a bit more adventure in the future.

It’s a huge, sprawling Britpop epic that evokes The Verve, Oasis and even U2 in its scope and power. There are walls of guitars, layers of backing vocals, thunderous percussive blasts.

Hardcore fans will likely find things to be affectionate about here, with Pollards knack for sweet melodies with a rough edge still just about shining through, but the safe production and tired performance means Earth Man Blues is ignorable for those outside of the '90s indie sphere.

There's no doubt that the five-piece have created something incredibly special, and they’re already working on a tour to showcase yet more new music for later in the year – nothing can keep them still. The world is truly Squid's oyster.

The accompanying music speaks for itself, filling every inch of Second Line’s constructed microcosm with the metallic hue of fuzzy synthesizers, reverberating chimes, and booming bass. Richard’s voice floats through it all, shepherding newcomers with an intoxicating haze.

This record is shamelessly Citizen. Each track holds its own distinct mood, along with the signature poised aggression that they've meticulously sculpted throughout their career. ... Their strongest work to date.

Whilst they recognise that change in any capacity comes with risks, they are taking matters into their own hands, and coming out the other side better for it.

It's a strong debut that will in no doubt be held in reverence for its musical deftness as it will its personal exorcism.

Thankfully, Mutator proves that Vega was capable of moments of excellence, even without his Suicide co-pilot Martin Rev. These are great songs, and wonderful additions to Vega’s ever-expanding back catalogue.

If A Black Mile to the Surface was the band’s first record back following a rebirth of sorts, then as far as the difficult second album’s go, Manchester Orchestra have absolutely nailed it.

Cementing his return with unearthed new, innovative territories, Robinson ensures electronica has never felt more organic as it does on Nurture.

Though Never the Right Time may be more introspective and relaxed than previous releases, Stott's unique take on nostalgia and the exploration therein is intriguing enough to make up for some minor pacing issues. Andy Stott can still do no wrong, even if his sonic landscape sounds so distinctively so.