Bea is a beacon of nostalgia for '90s kids who wished they were born a decade or two earlier, donning their Walkman, listening to cassettes, swapping out one grunge gem for the next. Bea provides a much-needed trip down memory lane, but not so much that it’s a pastiche to the era, rather an ardent nod, an ode to.

While Dark Hearts hits an exceptional stride in its beginning, we find quickly that its other tracks don’t necessarily live up to their fullest potential.

The echoes of his home band are clear, but there’s also an underlying feeling of something greater at play - the proof that he can cut it as a name as much as he can a band, and Serpentine Prison is Matt Berninger’s artistic truth and joy.

Despite tracks such as “I Pray” and “Save The Day” re-treading the Disney dewiness and naïve optimism of Carey’s earlier ballads, the hardening of the singer’s artistry is palpable across the record.

Collectively, it’s certainly Moss’s strongest work to date - a thoughtful, mature album, which delivers plenty of food for thought and a range of sounds, emotions and lyrical quirks to keep most listeners happy.

Flowing effortlessly between melodious vocals and blistering guitars, between reflecting on past feelings and accepting new eventualities, the majority of the album feels weightless.

Underpinned by sharper melodies and, shock horror, notions of hope, they sit comfortably as among the best songs Metz have written so far. If they’re a nod to how the band intend on developing their sound further, we may well soon end up with a record that truly feels like serious change has occurred.

An album that delivers on all fronts, from the ratatat of drill or the swinging hip-hop beats, EDNA explores as much as it uncovers more sides to its voice. Throughout, the littered guest posts each represent a facet of Headie’s journey perfectly.

Lament is testament to the power held in each new day, and the moments to be discovered within, delivered with crushing passion by a band worth standing behind.

Burnished with all the hallmarks that have moulded the band into such a robust songwriting entity, As Long As You Are is a portrait of Herring and co at the top of their game - a collection of taught electro-pop numbers graced with poetic flair.

Death Valley Girls’ music is, for better or worse, calculatedly disposable, and the band make no real attempts to secure lasting hooks or forge undeniable melodies. What they do, they do well, and that’s more than enough reason to give Under the Spell of Joy a spin.

Each song a little burst (nothing over 2:30), the rough ’n’ ready charm to Stay Alive is where it shines like a diamond plucked from the depths of blackened coal. It feels like Grace is in the room, life unfurling from her mind and straight into music.

By the time the record reaches it’s 12-minute close “Angel”, it feels like a great release. You’ve been put through the ringer with the abrasive “Cook A Coffee” (with plenty of shots at a certain, now former, Politics Live pundit) and “Be My Guest” and made it out the other side. Sweatier and ready to take on the world.

The band started with a really strong debut album, but Midnight Manor somehow takes this to new heights. You’ll hear the Stones, you’ll hear Lou Reed, you’ll even hear a bit of Alice Cooper in there - and you’ll come away having connected with a new, intensely fulfilling sense of cool.

Less antagonistic than Gore and wandering down considerably fewer stylistic avenues than Koi No Yokan, Ohms plays instead like a spiritual successor to Diamond Eyes. Like that record, the production is polished enough to see your face in, and like that record, there’s a sense that the arrangements are being granted plenty of room to breathe.

Sylvan Esso have always made albums that demand to be listened to at the expense of everything else in your record collection. Free Love is no exception. It’s the pair’s most cohesive body of work yet, and despite its more left-field moments, possibly their most accessible.

On this form she’s Bianca on horseback, a new Moroder drop in ’77, bootlegged Larry Levan DJ sets on cassette, the nocturnal delights of the Studio 54 VIP room, casually leaving her contemporaries trying to negotiate guestlist entry at the nightclub entrance

Ultra Mono is an enjoyable but ideologically confused record and one in which some of IDLES best material must compensate for some of their worst.

Alicia offers its listeners with the ultimate microcosm of the singer’s discography thus far, re-positioning Keys as a force to be reckoned in today’s musical landscape.

The result isn’t just Moore’s finest solo album: this is some of the most remarkable music he’s ever been involved in.

This combination of stripped-back lyricism and expansive musicality contributes to the sense of The Ascension as Stevens’ most plainly spiritual record to date.

Though it is by no means a flawless album, it is exactly the kind of thing you should be using to set your mind at ease. Fleet Foxes have always been inherently hopeful and thankfully they’ve not lost sight of that, roll on 2021.

Dapperton, by inviting listeners so openly into his feelings and experiences is where Dapperton will find his footing for the next step up. It really is hard to predict just where Gus Dapperton will go after this.

Songwriting of this quality, with powers of suggestion and intimations of doubt, deserves an audience well beyond the historically-inclined.

Find The Sun is an unsurprisingly great album from a curiously underappreciated artist, and an unassuming one at that. Deradoorian and her collaborators have made an album that fits the times, without knowing just how pertinent it would be.

Apple is barely a whisper in the breeze by comparison at ten tracks long, and in the way that 7G meticulously unpicked Cook’s innards so fans could see the master’s mind at work, Apple weighs out the specifics and pours them into the meting pot.

A.Swayze & The Ghosts prove that songs with substantial lyrical content don’t have to be preachy at all, and Paid Salvation is a confident debut from one of the more impassioned and exhilarating bands around.

Overall, it can be said that Tea for the Tillerman² is a strong throwback that boomerangs and turns in on itself ; it’s not the perfect path to Yusuf / Cat Stevens music for new listeners, but it undeniably succeeds in touching nostalgic hearts.