The brevity doesn’t downplay the creativity. A stunning four-track feast, the only downside is that we don’t hear more from such a formidable cast.

It’s Buzzcocks-goes-Daniel Johnston, with a little Guided By Voices on the side, erudite and desperate, and everything mentioned above and yet a lot, lot more. And it’s a pleasure to share it, and them, with you.

Hyper, aggressive, silly and just-bloody-gorgeous, it's a perfect microcosm of the album as a whole.

In 'FLOWERS for VASES / descansos' Williams belts the stapled vocal range she’s praised for in notable tracks, ‘All I Wanted,’ ‘Feeling Sorry,’ and ‘Ain’t It Fun,’ and completes it with comforting acoustics, simplistic key work and alluring songwriting.

While ‘Glowing In The Dark’ isn’t their strongest album to date is it their most accomplished. The wonky fun of their debut has been replaced with slick productions and the songs just sound amazing for it.

It’s an album that Beths fans will doubtless like very much, and it offers a strong mission statement to the future that this is a band hungry to expand and determined to explore the hitherto untrodden ground. It’s just a shame that, on this project alone, they’ve not delivered anything of career-defining merit.

An early contender for album of the year.

This is cheap theatrics masquerading as inspired art.

From ‘cover art’ to core, it might seem the listener is last on his list, but this is just classic reverse psychology. The less Dean Blunt cares, the more we do.

Post Malone still provides us with a sprinkling of the classics: bitches, butts and Millie on wrists, it’s appeasing. But for the most part, he created an insightful and eclectic record which is a testament to his versatility and willingness to do exactly what he wants.

She’s perhaps bringing the sweetest voice so far to Hyperdub.

Cat's Eyes is an impressive first outing full of sensuous dreamy atmosphere. Worthy.

Nutini reins in the melodrama, and Caustic Love is testament to that restraint.

Faraway Reach is a happy place full of group hugs and big shiny grooves.

For first-time listeners the distinctly compilation nature of the record could prove disorientating and less rewarding a listen than any of Olsen’s singular, more complete albums. But that’s generally the case in any rarities album. For fans of Olsen's work this is a treasure trove of lesser known recordings that capture the artist in a period in which her sound was ever-evolving and progressing.

Wallows are at their sunshine best on tracks like ‘Marvelous’ and ‘I Don’t Wanna Talk’, bouncy bright tracks which hold clear influences from Tame Impala, Vampire Weekend, Mac DeMarco and the likes.

Joyce Manor’s latest is a very likeable and highly-charged return from a proper contemporary cult band, one that boasts an admirable ability to tap into a resonant well of impassioned feelings, in spite of one or two slightly misjudged digressions.

Flawed but unbowed, it is a fascinating but frustrating listen.

A broad, diverse and enriching album, the ten tracks which make up Culture Of Volume are each distinctive but seamlessly connect and click together to produce a piece of work that will both delight and enthral.

That a record so dark and ripe with nuance can also harbour such blatant pop sensibility belies the duo’s young age while serving as a testament to their rampant eccentricities.

Album thirteen not only acts as the best thing The Pumpkins has released in over a decade but also an exciting indicator of things hopefully to come – a welcome surprise from one of rocks most unpredictable acts.

Expect to be challenged, provoked, and amazed by this near-heavenly debut.

With greater room for booming electro-ballads and crisply produced dance numbers, Tenderness is more engaging than its predecessor but no less immersive, making it on the whole a hugely accomplished return.

‘The Good Kind’ is full of dynamism and energy with pounding riffs and basslines. The trio are clearly revelling working together again on their sophomore LP, delivering on what fans might expect and showing the role each member plays.

Listen closely and the lyrics are raw in places in terms of questioning oneself and yet grow in self-confidence and belief as the album progresses, perhaps reflecting experience. However all of this is wrapped in the most glorious music, full of spirit and vitality.

‘My First Album’ is bold, fascinating, and addictive. A dark pleasure for summer season.

Despite spanning only nine tracks, the album feels complete, a full arc from despair to declaration. In its brevity lies potency: an emotional journey which navigates heartbreak, self-discovery and resilience.

At the heart of ‘Wormslayer’ lies an undeniable truth – Kula Shaker’s creative fire has never burned brighter.