Understated but never dreary, on Aperture Jadagu invites us into her inner world with refreshing vulnerability – to feel as she feels, dream as she dreams, and ultimately, to hold hope at the end of it all.

While not every moment works as seamlessly as others and some track lengths can feel slightly daunting, the triumphs far outway the tribulations on this enthralling, emotional trilogy conclusion.

There is nobody quite like Christinzio, who finds room for brooding art rock (Fear Life In a Dozen Years), glorious melodramatic balladry (Going Out On a Low Note) and descents into impressionistic weirdness (It Never Rains In Manchester). His lyrics, meanwhile, imbue resounding sadness with rapier wit.

A selection of often very solid songs that waivers a touch towards its back end, but nonetheless marks another solid entry to the output of an always interesting artist.

From the ghostly mid-tempo beauty of tracks like Missus Morality and my kiss era, to lead single Nurse!, bar italia demonstrate how to be complex and seductive, without ever feeling pretentious.

A meditative body of work specked with spots of boldness, Secret Measure weaves new colours into Cloth’s musical fabric.

The Rat Road is a wondrous and playful musical sketchbook that takes the SBTRKT sonic blueprint and builds something lasting.

An Inbuilt Fault is a natural progression in Westerman's young career – a little more austere and timidly experimental. Like a similarly quiet revolutionary Amen Dunes, Westerman is carving out his own identity beyond his influences.

There are hints of the band's more dynamic past on Eucalyptus, Tropic Morning News and Grease In Your Hair. But on the whole, First Two Pages of Frankenstein is an excellent exploration into recovery from depression, passion and addiction and is one of the finest records The National have released in quite some time.

The first half of All of This Will End hits with some serious force. The lyrics are forthright and clear, , and the arrangements are stripped back to their grungiest essence. ... With the arrival of the title track, the back half slides into a (relatively) mellower mood. ... The lyrical sharpness is still there, especially on absentee father-based Always (featuring some choice yells), but there's more reverb and layers to the arrangements now.

That! Feels Good! is a revved-up hedonistic joyride that extols and celebrates the sensual necessity of pleasure. Jessie is firmly in her lane here, and it’s a satisfying drive from start to finish.

Despite a relatively concise tracklist of ten songs, at points the 45-minute runtime seems to drag on, giving the album a sense of heaviness. Not dissimilar ambient sounds wash into one another – overall perhaps a more pared-down curation could better highlight the album’s strengths.

Ben Watt’s restrained piano and taut, anxiety-laden synths hang back so Thorn can carry the weight. She’s more than up to the task – her voice now fuller, deeper, enriched by experience, and perfectly suited to narrations about seeking light in the darkness.

On A Kiss For The Whole World, you can genuinely feel the life pouring out of the record. It’s eccentric, erratic and just the sui generis of what Enter Shikari stand for.

It's a mature album that is more likely to make you lean in to hear (as with the loud/quiet dynamics on Become The Earth) than beg for your attention. But there's ample reward in giving a little time to Feist.

When it aims for the ecstatic it works well, but it doesn’t colour its muted periods with anything like the precision, the uneasy vistas it is aiming for never quite forming.

HMLTD craft a compelling pox-ridden world of their own and leave just enough room for some bewitching ballads and ethereal laments amongst the chaos.

She has made the excavation of her feelings around freedom, identity and channeled anger into a record that embraces fun and surprising musical juxtapositions.

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.

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

The problem is that beyond the singles which dominate True Entertainment’s Side A, the band seem at a bit of a loss as to what to do with their newfound dancefloor credentials. The second half of the record rests on an at-times plodding and repetitive rhythm section, without enough excitement in the melody to buoy it up.

Their experimentation lies more structurally than sonically here. ... It also means that when they do lock into an extended groove it feels all the more impactful, be it the slinky The Little Maker, or the fractious firestorm that emerges in the middle of Momentary Art of Soul! It makes for an album where brevity belies what an enlivening and broad world it contains.

Bathed in a heavenly glow, it’s easy to let these songs wash over you, but Chua’s soothing vocals invite us to lean in and listen more closely.

It’s a coming-of-age bruiser of a record that transcends their brutal blend of J-pop and metalcore to more daring soundscapes.

Praise a Lord… is Yves Tumor’s most palatable music to date, and for those that have enjoyed the hurricane horror of their production previously – listen back to Noid with its blood-curdling screams and whirring sirens – the clean lines here will feel a little too neat. But with a new sense of clarity in sound comes a conceptual rigour.

The album may not be more than the sum of its parts, but thankfully those parts are packed full of enough weird and wonderful sounds to ensure another excellent Fever Ray album.

Across the album, Uchis seamlessly slips between English and Spanish. ... When the journey comes to a close, it couldn’t be clearer that, in Uchis’ world, love is the message.

WOW blurs the line between intentional and incidental noise to celebrate the sonic richness of everyday life and the ability of sound to trigger memories.