There’s much to enjoy, from the cool slacker pop of ‘There’s A Little House’ to the moody, atmospheric ‘Isn’t It Funny’, and flamenco infused ‘Dripping Soul’.

The excellent ‘Two Hands’ and title track ‘Terrestrials’, meanwhile, show the band at their most vital and upfront, and, by contrast, ‘Through The Heather’ is a gloriously chilled slice of synth-wave. And though there’s not a ballad in earshot, at times, it sounds a lot like Pink Floyd with a fuzz pedal.

A raw yet somehow pitch perfect example of post-hardcore’s potency, ‘Injury Episode’ proves Static Dress to be a band with not just grand ambition and ideas, but a passion for the genre that feels completely invigorating.

Messy at times, impeccably self-aware, and charged with the burning desire for the stability and peace of mind that comes with growing up.

In contrast to most artists honing in, this isn’t Iceage taking anything to extremes – quite the opposite, in fact, which for them probably is the unexpected. The record is all the better for it.

With ‘Be Sweet To Me’ she’s instead chosen to unapologetically lean into what is presumably her musical ground zero - that is, ‘90s alt-rock - to deliver a debut of truly impressive proportions.

While La Sécurité might not be breaking new ground, ‘Bingo!’ is still heaps of fun - and sometimes that’s ideal.

There’s a verve and dynamism to even the slower songs that suggest he has once again tapped into a rich vein of form, three decades after announcing himself as one of US alternative rock’s most idiosyncratic voices.

If anyone has ever pondered what they’d sound like in full technicolour, Rosa Walton’s debut here goes some way to suggesting an answer.

There’s no doubt that this latest offering secures his place at the forefront of modern soul music: above all else, Ngonda is a powerful storyteller.

That notable confidence in songwriting rings through the likes of the beautifully poetic ‘Envy The Birds’ and the ingrained synth-esque sadness of ‘Trap Door’, a cautionary tale of getting trapped in grief. The transformation is subtle but evident.

Marketable sounds are perpetually repackaged and sold back to listeners creating a seemingly endless cycle of revivals of revivals ad infinitum. YHWH Nailgun break this cycle and, on ‘Magazine’, wholly prove their mettle as a truly original and prophetic act.

Olivia Rodrigo has managed to mine the complicated, confusing, messy business of falling in and out of love to create an accessible yet hugely intelligent album that ushers her into her rightful position as one of her generation’s best artists.

All the strands of the songwriting styles that are weaved throughout his career are lovingly attended to and evolved on the record.

A varied collection that exhibits Ecca Vandal as a truly exciting rock act.

Key to the record, though, is not only the deceptive intricacy of Vile’s guitar playing, long a hallmark of his work, but the confidence in his vocals, which he wraps around his guitar lines with hitherto unheard verve.

The right word to describe ‘everyone for ten minutes’ is ‘crafted’. .... It’s not perfect, but it’s a love-letter, a mission statement, and a display of the magic that can happen when people come together to write songs.

Largely picking up from where the now-four piece left off, this third record is driven by Becca’s snarling vocals and a frantic math-rock pace, not least the assertive trio of opening singles. The stunning ‘Flowers’ joins the band’s repertoire of soaring ballad-adjacent rock masterpieces (namely 2014’s ‘Captivate You’ and 2018’s ‘Run With The Rhythm’).

They skillfully marry sonics and subject matter with smart precision to instead offer an evocative, multi-faceted commentary on contemporary culture that exists at the intersection between natural and human, destruction and rebirth.

Many albums will undoubtedly be written about the fractured world in which we live right now, but few are likely to be quite as slick and potent as this one.

A record of reflection and connection, it’s one that, at its best, ranks among the more beautiful-sounding you might hear this year

Together the pair [Kevin Morby & Aaron Dessner] have crafted perhaps the most vivid and essential record of his career.

The curiously evocative and often soaring vocal of original ‘modern woman’, Sophie Harris, there may be a slight hint of knowingly tapping into the full breadth of their creative gamut across the record, but in delivery it suggests more a case of never wanting to tie themselves – or the album as a whole – down.

Whatever your view on their schtick, the songs will win you over in the end.

‘Peaches!’ feels like a welcome return home for The Black Keys, a recapturing of sorts of their early energy.

Just like a big night out, or indeed its afters, the record is dizzying but flies by too fast and leaves you wanting just a tiny bit more to savour.

An album that’s unlikely to make too much of a dent on the band’s epic career this far, ‘Your Favourite Toy’ is a lot of fun all the same.

Hyperactive electro-punk that effortlessly marries visceral fun with often experimental chaos, ‘Theft World’ sees its creators take some audacious swings and land an endless barrage of colourful, unique and exhilarating blows.