As a collection of tracks Holiday descends into a humid nostalgic reflection, yet each individual song is its own small pocket of joy.

It isn’t often that metal is as direct and exhilarating as it is on Viscerals, and despite a series of songs concerned with the more unsavoury facets of life, there is a furious energy at the heart of the record it’s hard not to get swept up in.

The six-piece have retained a strong sense of the wonderfully free spirit improvisers they are on stage, but with Youth and Ben Hillier on production duties there is a more refined focus to their output. 100% Yes in turn deserves greater focus from the world at large.

That such revelations can be borne out of isolation should be a comfort to us all right now, and Cenzias is a record expansive enough to open up even the smallest rooms.

On It Is What It Is, Stephen Bruner’s eccentric hyperactivity is on full display, bouncing from jittery bass chops to fat West Coast funk. He balances the spacey jazz fusion of his early records with the signature neo-yacht rock perfected on Drunk (2017).

Through Water is an album that was made to move you – physically and emotionally – and most importantly, to make you feel. Water as a substance is intrinsic to our very being, and through Låpsley’s intention, is complex enough to touch us all.

If destruction is more your appetite, then Ghosts VI: Locusts provides an aural embodiment of the uncertainty and discourse.

Ghosts V: Together offers us the tranquillity that we’ve been searching for during the quiescence of being on lockdown, and the ability to truly switch off for an hour, letting ourselves be guided by their eerily calm production whilst we pretend that the world isn’t actually going up in metaphorical flames before our eyes.

Each track is like a piece of the puzzle. You’re looking at the shapes in front of you thinking that they will never fit together; then somehow, given time, everything clicks into place. That satisfactory snap into place is what Little Dragon has been searching for. Their wait is now over.

Illusion of Time can sound more like a proof-of-concept piece than a fully-fledged album. However, if you can reconcile yourself to this fact, there’s some truly outstanding ambience to be experienced here.

Future Nostalgia is an artist in total control. It’s built on such an addictive carefree spirit that it’s hard not to let loose and go with it. The greatest pop star of this generation? That’s for you to decide. But Future Nostalgia makes a very convincing argument that Dua Lipa just might be.

It holds the best batch of Waxahatchee songs yet, with Crutchfield at her most candid, raw and clear-eyed. This is the work of someone who’s begun to write a bold new chapter in her life, and it’s special stuff.

It’s an unexpected but fitting swansong: like Brams’ presence in Stevens’ life and work, it is a gentle guide, and an encouragement to give our thoughts space.

3.15.20 is as spell-binding, illuminating and honest as any of the great albums in recent history. Aspects hold themselves as hard and brutal as Kanye West's Yeezus, yet these moments are tempered by ones of beauty and elegance as enthralling as anything you’d find on Solange’s recent records, or Tame Impala’s for that.

Unfortunately, despite the gravitas, at times it feels a bit like you’re listening to a late-night free jazz jam. When it hits the mark, Rose Golden Doorways rears its head and roars in a concrete wasteland, but there are moments of chin-stroking weirdness that fall flat of the eldritch dread Rochford and co are trying to create.

From their start, Oh Wonder were putting out high quality tracks that were stylistically interesting and excellently produced. In some ways, it would be foolish of them to deviate from the formula that served them so well in the past. As a record, this is unsurprising by wholly satisfying nonetheless.

The Night Chancers is Dury’s most accomplished work, its self awareness and innate understanding of genre and language shows the songwriter to be in the prime of his creativity.

Dungen Live is first and foremost a team effort, a totem for the kind of intuitive and intoxicating musical family communion that is hard to come by.

A bold record of resilience. You Know I’m Not Going Anywhere is, in essence, a rock record. But it is a rock record that asks for more, unafraid to scratch that little bit deeper.

Deap Lips, is less of a synthesis and more of a compromise. A diamond in the rough rather than a crown jewel. Undoubtedly more experimental than the Lips’ last collaborative effort, the music is still tinged with that same whiff of self-indulgence.

The Wants debut is bold, daring and incredibly effective. Separating itself from the regular indie noise, Container is an album that tells a compound narrative while experimenting cleverly with fine attention to detail.

It’s safe to say Wilson is feeling a little bit country, a little bit rock and roll on Dixie Blur, and as with his other albums, the stylistic tweaks fit him like a glove.

There’s nothing too complex about what Porridge Radio do, but they do it very well, and Every Bad is unlikely to wear itself out soon.

Juniore’s cinematic yet understated psychedelia provides much-needed opportunity for escapism in these turbulent times, and allows us to dip our toes into a world where all that matters are happenin’ hooks and rad riffs.

Traditional Techniques is an album completely out of time — a folk(ish) record about the present day that might be one of the most future-proof of his career.

Her trademark confidence is now tinged with a newfound self-awareness, as if evolving through her experience of the joys and pitfalls of celebrity. ... Surprisingly, the standout track from the record, “Crying in the Car”, is a diorama of nostalgia, melancholy and faith, counterbalancing Megan’s overall ethos of optimistic self-empowerment. ... For listeners, it makes a strong case for the rapper’s longevity within the increasingly fickle world of music.

The formative spiral of ideas dabbled with on previous albums recedes, giving way to a pearl of accumulated wisdom - a new beginning for the three-piece that proves reflective, ambitious and openly confessional.

[“Modern Loneliness”] is quietly anthemic; an ode to the contradictions of contemporary culture and the cognitive dissonance of wanting to feel better but not doing anything to get there. It’s the perfect conclusion to an album which speaks to the various anxieties of both its subject and its listeners.