Garratt’s latest offering is a triumphant return. It is an album that does not ask you to relate to his pain, nor tells you to dance over your problems. It is an album that tells a story and ultimately, holds no fear.

A record full of handsome brass parading around an etch a sketch of ever changing life and love, Weeks holds the frame and with each listen you hear something you didn’t the previous time. A Quickening is your own bundle of joy you can love time and again, minus the diaper changes.

This is a strong record, and it shows that Ohmme have safely navigated the pitfalls of the dreaded second album syndrome. Here, they sound mature, focused, well-drilled.

Hutson continues his startling ability to generate a world of his creation, and our making. It’s the little things that gift Hutson’s songs with a penetrable honesty, balanced between the softly plucked strings - beauty and realism.

This box set is a treasure trove for people who’ve never heard any of Iggy Pop’s various bootlegged and semi-official releases over the years, especially the releases pertaining to this era. The quality of these albums – and Bowie’s entire Berlin period – is so high because the sessions were so economical, and no ideas were abandoned along the way.

The record may be 24 tracks long, but it is delivered at such a speed that it packs its punches long before the ice in your drink has a chance to melt.

Much like its predecessor, GENE fuses flights of accessibility in parallel with the unorthodox, achieving a split-tone depth that at once evokes a murky, warbling uneasiness and in equal measure boasts splashes of untroubled psych-pop brilliance. Earworms deployed in quick succession, Dust helms familiar inventiveness and ingenuity that can sometimes feel a rarity.

Your Hero Is Not Dead shows Westerman not only invigorated, but willing to stretch his range. Working again alongside longtime friend and producer, Bullion, Westerman, here, surpasses his early work with curious abandon and confessional songwriting.

It’s an incredibly tight record packed with stellar performances, production and presence throughout. The blood, sweat and tears of hip-hop run through the album, but Gibbs has once again redefined what that means.

With multiple writers Sideways to New Italy perhaps lacks the focus and clear direction that the music deserves; stark changes in vocal styles can break an aural ‘fourth wall’ and remind the listener that the songwriters, while complementary, are also competing with one another for our attention.

An album that feels spacious and cinematic, genuinely human and loaded with emotion. It’s one of the classiest and most refined listening experiences you’ll have all year.

RTJ4 is Killer Mike & El-P’s masterstroke. This is musical evolution for moral, social and political revolution, the group now creating anthems in the pursuit of tolerance, respect and unity.

Crampton packs a world of sound into her albums, and to listen is to undertake a journey of sorts.

Combining the spirit of Britpop with the attitude of modern day post punk, tracks like “Going Soft” , “Here It Comes Again” and the familiar cries of “Camel Crew” and “Kutcher”, swell, expand and know just when to pull the pin into an eruption of chaos.

Chromatica is not Lady Gaga returning to form, that would imply she’s ever had a dull moment - even Joanne held its own in a world of expectation - what is however, is an embellishment of who she is, both inward and outward, in a moment where the world needs beating, pulsating music to get lost in.

It's a deft endeavour in making an album that speaks to the most bombastic music of the past, and it's an enjoyable listen – just be wary of ear fatigue.

By failing to commit fully to straight pop craftsmanship or to genre-bending experimentation, the project feels lyrically bland and sonically uninspired.

As the next chapter in an unimpeachably reliable catalog, Nicole Atkins couldn’t ask for anything more from Italian Ice, preserving her artistic hallmarks, deepening her emotional lyrical depth, while broadening her stylistic palette.

Its best moments also its most agitated. For those of us keen on more of the same from York and co, let's just hope she keeps her beady eye on the anxieties of the everyday and not on paying a visit to outerspace.

The strength of Don't Let The Ink Dry comes from its mixture of vulnerability and power, both apparent in the vocal delivery where they subsist in harmony.

Burgess’ omnivorous pop palate leads the music through baroque flourishes, residual California vibes, and a laser battle reminiscent of Joy Division’s “Insight” in the sunny swell of “Warhol Me,” with equal aplomb. It is a kinder, gentler rock and roll, perhaps, envisioned by someone who is convinced that “the future is friendly.”

Deceptively simple, yet holding a world of complexity within it, Yeo-Neun is airy abandon in parts and heavy sensitivity in others. Remarkably honest and creatively challenging, the album projects into a constant companion, whether with its unflinchingly beautiful musicality or its daring noisiness.

Notes has no such common context, and ends up feeling flat, directionless and inessential, where its forebears felt vital, worthy of devoting a life to. For a band with proven dexterity in deftly capturing the nuances and quick changes of contemporary conversation, it is disheartening to witness them with nearly nothing of note to say.

Williamson truly soars when her moving vocals combine with the vivid imagery that is painted through the lyrics.

Hadreas may be uncompromising but stubbornness has its rewards: few albums feel as distinct or as complete as his.

Wholly a spontaneous offering, entirely DIY in production, and made from the creative confines of whatever was available to the singer in self-isolation; Charli XCX has proved that music really can be made anywhere, with anything, during a period where the world is on pause, and still sounds like the future is hers to play with.

It grows immediately after every listen. Its effects have some kind of exponential growth in your head, where you can find yourself humming melodies that appear once or twice in one track. His songwriting is that infectious.

Overall, Have U Seen Her? strikes a great balance between rocking out with piercing, lacerating soundscapes and soothing nerves with heartfelt songwriting encompassed in diverse melodies. The balance falters at points but it’s never irreparable as ALMA rights it again with the natural magnetism of her music.