For Ride to produce such a strong album is a wonderful thing. To compare this to their first two albums is silly--bands and entire genres were formed off the back of those records--but does Weather Diaries sit up there with them? Absolutely.

The record is a fluid blend of Goldie taking reflective looks back on where he’s come from and the myriad influences that have shaped him over the years, alongside a sonic perfectionist’s competitive desire to push the music world forward with his new work.

Despite the eclectic genre-hopping, all of Résistance ends up sounding unmistakably and thrillingly like Songhoy Blues.

The production is perfection, and if you're in to classic pop musical cliches that defined electronic music in that era, Iteration becomes more of a celebration of nostalgia than perhaps a narrative into something deeper. The trip back is kind of fun, even if it is not directly intended.

2017 has had better pop records surely, but hearing Halsey grow as an artist is a uniquely rewarding experience that makes the album’s faults more forgivable and its successes more thrilling.

City Music is, without fail, one of the most quintessential albums of the year so far.

The Gossip may currently be no more, but with Ditto's solo album, we have a replacement that fills the void.

The album works best when you bear in mind the turbulent times that inspired it. Ti Amo has a romantic heart, and Phoenix use it to find the bright spots in a tragic world, without losing sight of the tragedy itself.

With Truth is a Beautiful Thing London Grammar have created a world that knows when to be expansive and when to be introspective, building on their DNA and adding more dextrous, yet suitably restrained arrangements.

At times, Gonzalez’s penchant for dramatizing and confessional nature work almost too well, and you get the feeling you’re hearing something that was only meant to be shared between two people.

The hodgepodge feel is a shame, because at its best RELAXER is euphoric and poignant, at its worst it is frustrating and lumpy.

The production team--Ben Turner and Part Chimp’s Tim Cedar--have done too good a job of capturing the excellent beats and riffs upon which the record is built, and this throws the shortcomings of the vocals into sharper relief. However, when the record works, it works, simultaneously in the senses of cohesion, physical graft and mechanistic industry.

Its significance, its profundity, its sheer exhilarating force will stay with you for far longer than just about anything else you’re likely to hear this year.

At first listen, Sugar at the Gate could be deemed overly saccharine, but the production is so flawless they inevitably give you permission to revel in all of your rose-tinted dreams.

Closing track aside, this is a mostly compelling and wholly fun trip through modern pop with a charismatic protagonist, that hangs together way better than it should.

For a debut The Amazons have crafted an exceptional initial offering.

While edgy, honest and witty observations are made about youth culture, there is a tendency to sprinkle moments of easy listening jazz throughout the record, which is a bit of a downer in a non gothic sense. Still, the brutal honesty and candor are present and much appreciated, one of the few characteristics that truly identifies a Mountain Goats record.

Overall, the most amazing aspect about Somersault is that it still has that bedroom-composed feel.

Hardly earth-shifting, there’s little to scoff at on Different Days but, most importantly, plenty to smile about.

Thematically the album's tight and the catchy hooks and danceable rhythms drip with just the right amount of psychedelic dance-pop sweetness. With infectious grooves, great musical phrases and smooth almost sultry vocals, it all makes for another Saint Etienne record that's extremely hard to dislike.

Her new found confidence comes through in spades here and the end product is a record that shines with a captivating vibrancy.

Its best moments are closer to pop-punk and synth-pop than anything resembling traditional hip-hop.

Its standing as one of the best albums of the 90’s remains undiminished.

Never content with, or intent on, being one thing for too long, Play What They Want thrives on anarchy without chaos.

Ultimately Harry Styles feels comfortable and readily worn-in.

The moment that you think you have She-Devils figured out is when it will catch you off balance and dig its horns in.

It will of course satisfy long time fans, but those that have overlooked the band over the years would be wise to reunite with them for the battle ahead.

Here is an album that embraces every fibre of your being; generous in its awe-inspiring and beautiful moments. It’ll keep you guessing every minute of its hour long run. It’s uniquely Pumarosa and there’s nothing else quite like it.