Much like what has come before, it’s in this melancholic in-between that ‘Little Oblivions’ finds its voice; a soundtrack for those searching for hope in difficult times, particularly when the wider world has removed easy distraction from the pain.

Another truly original triumph.

Ultimately, ‘Nymph’ is a climax – a culmination of years of experimental foreplay – that puts Shygirl on the map as one of the UK’s freshest voices. It honours the altar at which Shygirl was born, but gently trickles into an adjacent brook, to where we might see her next.

This album only re-affirms his unique and inimitable talent.

Aidan’s scathing wit is more incendiary than ever: the vivid, often lurid portraits he paints of the society around him feel more vital than ever, as does his ability to navigate them with a grim chuckle.

By intention or coincidence, the band's debut boils over with frustration. And all you crave is a piece of it.

Definitely an album of two halves, by the time you hit ‘Ferris Wheel’ and ‘Destroyer’ the record drifts off into Dylan-isms that while are nice enough, don’t carry the same idiosyncratic weight of ‘Singing Saw’ or ‘Drunk and On A Star’ that will some day carve out a classic from this hugely promising talent.

An affecting - albeit somewhat terrifying - portrait of how life could shift in the not-so-distant future, ‘No On Was…’ is perhaps the stark reminder we all need to hear.

In and out of the studio, Ryley Walker has been one of indie rock’s more colourful characters for a while now; ‘Course in Fable’ only reinforces that view.

After eleven songs of depth, colour and excitement--songs that grow more vivid with every listen--it’s always a shame to reach the slow decompression of ‘The End, Again’, but as the title suggests, it won’t be the first time, nor the last.

‘Razzmatazz’ is fun, flamboyant, and entirely of its time. A record that truly lives up to its name.

It seals the chapter of Jordan’s late teens, early twenties, and it lands up being his finest work by a country mile.

It’s older, wiser and more reflective. A wonderful surprise album whose existence in 2023 actually makes perfect sense.

Here, the sonic experimentation finds his production and arrangements reaching the same imaginative heights. A thrilling and unpredictable addition to Villagers’ gleaming canon.

Not always an easy listen, but a consistently thrilling ride.

It’s as fun and messy as it is timelessly trendy; as silly as it is erotic.

Time away hasn’t dulled No Age’s musical sword--they’re sharper and brighter than ever.

The impatient will find ‘Once Twice Melody’ a tad wishy-washy, but for those who persevere there’s still a lot going on beneath the waves.

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

It’s a record swathed in simple but effective neo-soul melodies, echoing Chance, but also early 00s R&B with its gentle pianos and smattering of light hi-hats and percussion. Warner’s own languid style of delivery only adds to the lilting nature.

‘Life’ provides a pure pop moment of the most joyous kind. Enlisting the Swedish icon to soundtrack a moment of dancefloor euphoria is in itself a masterstroke, but the track’s looped hook possesses the kind of earwormy immediacy that brings to mind Y2K staples ‘Lady (Hear Me Tonight)’ from French duo Modjo and Spiller’s Sophie Ellis-Bextor featuring ‘Groovejet (If This Ain’t Love)’.

As Biffy-ish as ever, with its cranked-up guitars and stadium-sized hooks, it’s also a deliciously unusual listen, shifting gears from the dub-flecked ‘Instant History’ to the unhinged scorcher of ‘Cop Syrup’. And while ‘A Celebration of Endings’ does explore the current frustrations felt by the band, both political and personal (“We’re fighting an ugly war / And it’s no good to freak out,” sings Simon Neil on ‘Weird Leisure’) it also offers up a brand of gut-wrenching, defiant hope.

Silent Earthling is far from an reinvention: it’s simply Three Trapped Tigers adapting and tinkering with everything that made ‘Route One Or Die’ such an exciting debut, to end up here with a leaner, more focused, brilliant second album.

She conveys a depth of emotional exploration in her lyrics that goes beyond even her previous work and sets Petal up as an affecting songwriter.

Well and truly living up to his aim of creating a timeless classic, ‘Twin Heavy’ sees Willie delivering a more concise and cohesive record than his previous, leaning into a more distinctive sound and crafting an album that shines throughout.

Bikini Daze proves that MØ has pretty much mapped out every aspect of her identity; it's up to her which path she chooses to take.

Singles ‘Level’ and ‘Being Around’ are given a new lick of paint, while newies ‘I Wish It Was Sunday - an invigorating thrash defined by screeching guitar solos - and closer ‘Boring’--a live favourite that sounds even more intense on record--show that Our Girl can more than hold their own across a full-length. It’s what’ll come next that we’re most excited about though.

An album that manages to be both delicate and thunderous at once, ‘I Slept On The Floor’ is a potent and empowering statement of intent.