Although the album is an exercise in euphoric clubland dreaming, tracks Closer and Everything Is Beautiful remind us there is perhaps a more sincere side to Kylie that is often overlooked.

While Hamburg Demonstrations doesn’t have Doherty retiring his military guards jacket, there’s definitely a greater helping of wholesome maturity to be found in this patchworked and homey collection of ballads both old and new.

They have plenty to make them stand out from the crowd. The legacy of Seattle grunge is alive and well and being extended in the hands of Strange Wilds.

Brief though it is, 'Strange Weather, Isn't It?' represents a remarkable sharpening of focus at a time of flux - and possibly crisis - for the band.

It's alright and will shift units: boundaries will rest easy however.

Move Through The Dawn is an album sadly bereft of impact, from its lacklustre cover onwards.

A record that stretches the boundaries, ‘UTOPIA’ feels like his finest hour.

Some may find something deep and spiritual amongst the cuts on Outside, but it just makes this reviewer want to stay indoors.

Sweet, intimate and tender, Trick is a tempting treat.

While at times lacking in lyrical insight, Fink’s ability to maintain an atmosphere, to build up gentle, soothing bubbles of sound, is largely unmatched.

Accomplished again, then, and greatly engrossing throughout. It’s just lacking that crucial aspect of singular appeal to stand aside from a fiercely competitive pack.

Kintsugi hits hard due to its lightness, its bitter heart shrouded in soft arpeggios and catchy riffs.

Cosmic Wind still manages to set a mood, languorous and lush, perfect on a capital’s rooftop, cocktail in hand, the last sunrays hitting perfectly. But you can all too easily imagine this slotting into some Spotify algorithm, a mood playlist titled “Summer Vibezz”.

Still splitting opinion. Still weaving rich pop tapestries from whatever fibres take their fancy. They deserved better.

The band's melancholic core remains intact on a record that's best listened to through headphones in a big coat while crying. What is noticeable in its absence is any foray into flat out, ear-grating noise á la 'Doe Deer' or 'Alice Practice'.

These tracks are both club and headphone worthy, insular and expansive, ephemeral and dense, lush and skeletal; their only uniting factor, Thom's voice, curling like a wraith through their intricate insistent landscapes. Captivating.

This debut album from the Manchester trio is a captivating Gothic Americana creation.

The London quintet have raised their game, with something a whole lot more classy, salvaging them from the landfill indie chute.

Brilliant album; an album that will become – in time – as significant and important to Gahan’s career as Johnny Cash’s ‘American’ series was to his enduring legacy.

They could do with a couple more uptempo nuggets like 'The Kids Were Wrong'.

YACHT have consciously positioned themselves as intelligent conceptualists, not wanting to adhere to what's expected of them, and that makes for an interesting amalgam of deep themes set to brazenly outlandish pop styles.

While the sheer breadth of Wait ‘Til Night can’t fail to impress, the album lacks certain cohesiveness. That said, there’s an honest creativity here that ripples through proceedings.

It still stands tonally a much stronger package than his last two releases and is filled with far more highs than lows.

With features from Blxst, Yungeen Ace, Future, and Wale – amongst others – ‘Richer Than I Ever Been’ is shamelessly entertaining, the work of an artist who knows what his audience wants to hear.

While the album is undeniably well produced and generally well performed, unfortunately Woods' fails in his first attempt to stand out from the crowd.

When we’re not soaring we’re wrapped in ambient solemnity, all the while fixated on Nika Danilova’s voice: theatrical, confessional and, perhaps for the first time, totally unafraid.

It may not be quite up there with fan favourites ‘Fever’ and ‘Light Years’, but proves a lot more memorable than ‘Body Language’ or her previous studio set, 2010’s ‘Aphrodite’, were.

This second studio effort from FINNEAS is less experimental than the 2021 debut ‘Optimist’, but has more of a direction, even if said direction becomes a little formulaic toward the latter half of the record.