A record that is as self-aware of the pressures of romance and stardom as it is a bare, naked representation of the singer’s heart and soul.

Petals For Armor is a display of the multifaceted truth that is ‘femininity’; Williams’ rage is complex yet simple, primal yet now more discrete.

Album stand out "Death Engine" seems to be the perfect balance of all the elements at play – it’s momentous but it stands still, it’s modern but it’s also so rose-tinted, it’s where hard percussion meets yearning keys and where elation greets loss. Sadly the album does stumble a little at the last hurdle, as "Depression Tourist" adds an unnecessarily vocoder-happy outing to the mix, but thankfully it does not fall or overshadow this otherwise stunning return.

Brilliantly produced, thematically solid, prescient, insightful and witty: it tackles with aplomb the paradoxical themes of isolation and overconnectivity, anxiety and the seeming proximity of death.

Utterly forgettable.

As well as a wide range of emotions, various musical styles are visited and executed with the causal confidence becoming synonymous with her output.

The fact that GLUE isn’t just another album in Boston Manor’s discography rings out. It's a portrayal of moral depravity, a reflection of modern society and a call to arms for change. A bold and brazen album that will joyously haunt you.

Self-doubt and anxiety still flow through the veins of the record, albeit quieter and much more introspective, but this time it’s darker, and more matured. A vital record of universal emotions that makes the current global mantra of “we’re all in this together” feel just that bit more believable.

As the band continue to explore the elements of shoegaze, jazz-melodies and saccharine pop at the edges of their well-worn indie-rock, Happyness find themselves back in top form and ready to reach out once more into a chaotic unknown.

What Kinda Music also features an unlikely collaboration with acclaimed MC Freddie Gibbs. Sonically, it fits perfectly: the Misch / Dayes project is not far off from Gibbs’ main production collaborator Madlib.

The chaos and contradiction is audible throughout the record, which flips between analog alt-rock and eclectic, genre-smashing experimentation. ... It's this duality that proves to be her biggest strength.

As a songwriter and a storyteller, she’s simply never recorded anything quite like it. After so long in the game, it’s miraculous to hear her take such a fresh approach to her sound.

Fizzing with melodies, the dream-pop infused aura that emanates throughout is charming and vastly uncomplicated. Her vintage aesthetic sealing the deal.

Sure, his prowess in mope-pop makes for a voyeuristic listen, but on Shortly After Take Off he invites us to take a twitch of the curtain obscuring the life of Brian from the outside in, and it’s a spellbinding and utterly wonderful thing.

From the harp-tinged starter of “No Good”, far across the twinkling lights, broken hearts and epiphany, to thunderous claps of “…Again” A Muse holds itself aloft, floating dreamily on a sea of feeling.

Uninspired choice of featuring artist aside, the artistic breadth and depth of this project speaks to Reyez’s position as an emerging, formidable artist in her own right - someone who knows exactly what a good song, let alone a good R&B song, should sound like.

Some albums are worthy of such electric apprehension, and the chains leashing this poetic, wit-filled, ramshackle beauty should be broken. Fuck it. Fetch the bolt cutters. This feels special.

The Don of Diamond Dreams has plenty of mass appeal regardless of its unconventional style, but still Butler entices us just enough by adding bits of flair to its top tracks.

It’s true that the concept is the most rewarding aspect of these songs, but the choice of character does chime greatly with the historical moment and makes the album more distinct than it otherwise might have been.

Ultimately, this deftly intelligent record takes personal and musical themes, and presents them in a way that doesn’t feel like it’s ever been done before. Rina Sawayama is one-of-a-kind, and her debut album certainly isn’t going to be quiet about that.

On Song For Our Daughter Marling intimately portrays her subconscious, the one that’s paved the way for her to survive to this point years before these songs were recorded, in its brutal glory.

It’s a perfect pop record, from start to finish – there’s not a single filler track, each is distinctive and shows off the band’s impressive range.

The decidedly straightforward "Curves & Swerves" and the haunting, string-backed "You Don’t Know Me" - are amongst the album’s best. These highlights point to Harvieu as a voice in English music which has been missed and is more than welcome back, and she sounds like someone intent on spinning a rare second chance into something that will stick.

Eschewing the sleek production of Electric Lady Studios, which must have been mere blocks away, gives the album the raucous feeling of a bar-room jam. ... When the backing instrumentation drops out to leave Leithauser booming those words into an empty room, the album is at its most powerful.

The New Abnormal cements their continued relevance when many had been written them off, and as ever they don’t seem to care either way.

A fantastically delivered meld of indie, folk and emo, afford Born Again repeated listens and you’ll be rewarded.

If You’re Dreaming is quintessentially Anna Burch; a unique artist whose music bridges gaps between genres.

Though I can’t help but crave a return to the more dark and experimental avenue in the future, the execution here is indisputable, and album is a cohesive and worthwhile effort deserving of a wider audience’s attention.