With Drop Cherries Billie Marten has beautifully recollected a collection of intimate feelings, thoughts and sentiments, transforming them into introspective songs that are hauntingly relatable to any listener.

Recorded in a week with her friend Luke Temple, abysskiss captures a fleeting moment in time, though some minor creative decisions taken feel as if they could have larger implications in the future, as the understated synth in womb leaves us curious as to how her unmistakeable vocal would sound accompanied only by cold electronics. Said vocal is as complex as ever: delicate and strong, soothing yet uneasy, each listen revealing new emotional depth.

Constance’s empathy is radiant as her lyrics are brought to the fore by way of a minimal guitar-led backing. Her emotional intellect is demonstrated through her articulation of mental health and personal struggles.

Featuring crunchy guitars, squeals of feedback and masterful melodicism, comparisons to Pinkerton are inevitable, but there's more nuance and maturity at work here.

The merry, danceable energy never lets up, from the meandering guitar work of Hi! to the album’s rousing finale, Let Me Cook You. Talkie Talkie sees Los Bitchos return with more polished, vivid and delightfully camp soundscapes.

At the centre of Shura’s third album is the rousing anthemic piano ballad I Wanna Be Loved By You, and it captures the DNA at the heart of this yearning, vulnerable record.

Weaves can flick between breezy, cute pop hits to tight-fisted punk snarlers in the blink of an eyeball, and the record's best tracks are a combination of both.

Earl Grey delivers eleven thoughtful, quirky tracks which deserve to be listened to again and again.

It’s an introspective record and, although there are flashes of the melodic indie-pop Mull Historical Society are known for, it’s overall more laid-back.

Potentially one of the most beautiful records you’ll hear this year. It makes sweet misery out of melody while articulating a forlorn yet rousing sense of hope.

Blending a history of gospel, soul and rap, NO THANK YOU cuts and shifts, showing her irrepressible force and talent.

A dazzling record that finds the trio slightly more optimistic, slightly more resolute, but defiantly themselves.

By all accounts this fusion of genres should feel awkward and unworkable, but Ziúr fuses these elements together with the precision of a mad scientist unaware of the monster they’ve just created.

What is surprising is how this darker direction unearths a hitherto unearthed pop sensibility in Moon Duo with songs like White Rose and Will of the Devil recalling the gothic melodies of Siouxsie and the Banshees or The Cure at their gloomy best while Creepin’ skips along like something off The Strokes’ first album.

On The Seduction of Kansas they thrillingly disrobe of any of the negative connotations that might, usually wrongly, come along with that phrase “political punks”; namely extreme directness and a sense of lacking musicality, as the band explores new identities both narratively and stylistically.

Let Them Eat Chaos dazzles with its linguistically-created, vivid imagery, and ability to evoke overwhelming atmosphere through its sound.

Authentic, intricate and wholeheartedly personal, Julia Jacklin brims with poise at every turn on PRE PLEASURE.

Rodriquez’s most cohesive and ambitious work to date.

A warm, insightful and frequently jarring record full of pain, love, curiosity and mystery.

In all, Bunny is as varied, strange and untethered as you might expect. There are moments of singular genius that can only come from a committed tinkerer like Dear, but also forgettable experiments that sometimes get lost in the whirlpool of creativity that this album stirs up.

Chock-full of gluey basslines and gleaming synths, Outer Peace is very much a dance record and it’s pure ecstasy.

A moving synth-pop paean to the pair’s powerful relationship and a fitting finale to their School of Seven Bells project.

Tina’s bossa nova rhythms slip awkwardly between homage and parody, its retro charms uncertainly realised. Yet even these misfires retain the warmth and sincerity that make More an inviting return. Pulp demonstrate here that revisiting the past can yield genuinely uncompromising and organic rewards.

On I quit, HAIM are unbound. It is brilliant, then wandering, then brilliant again; an imperfect, burning, compelling work.

Say Yes is an assertive, cathartic shout of independence. An understandably grittier attitude drives even the most understated of tracks, but blows full force on Avalanche.

Still disorientating yet more alive than ever, this is a bold album that skillfully pairs darkness with light.

In short, they make experimental rock sound so easy when the reality is anything but.

Indulgent? Possibly, but it works, because this record – even the longest tracks--is punchy, witty and razor sharp.