‘Social Lubrication’ sees the trio loosening up and letting go, resulting in a record that’s both a progression, and that shows off wonderfully just what made them so exciting to begin with.

A fierce, fearless debut.

(Almost) never not accomplished, albeit - as a whole - a little confusing, this second time around.

An album that’s ultimately OK with not being OK, it’s for that reason alone that it may just be perfect.

It’s obvious where Marlon Williams’s influences lie but he expertly melds his roots with elements of chamber pop and ‘50s heartbreak amid a sea of textures. Make Way For Love is nuanced, subtle and evocative.

It’s not all change though, there is still a sense of continuity.

Familiars may not be as obviously fervently intense as their previous work but the truth is its emotional weapons have just been wrapped in a beautiful bow.

Offering up another soundtrack for the disenfranchised and downtrodden, Sister Cities is a renewed example of just how powerful and poignant The Wonder Years can be.

The band’s new, self-titled album sees them ageing gracefully, but not without tweaks, even if reinvention is too strong a word.

All in all, it is as engrossing as it is innocently delightful.

Endearing and relatable without ever lapsing into total fondue, Faye Webster knows exactly how to roll with life’s punches, how to find the humour in a vulnerable moment. She knows she’s funny, but we think she’s pretty smart.

Pissed Jeans are loud, they're angry; they're buoyant, they're funny; they're introspective and melancholic. They're totally original, and of their time.

His perfectly serviceable croon is not quite strong enough to carry it across 16 long tracks. If only he’d given ‘Lightning People’ to Liam Gallagher, it might well have been the soundtrack of the summer. Moments of greatness are plentiful, but ‘Fever Dreams…’ shines brightest when Marr lets his guitar do the talking.

Proffering intimate lyrics on private grief and personal growth (‘Erase’ finds inspiration in the lifecycle of a moth) with the most gorgeously purified vocal shimmer; it’s the cherry that tops this most satisfying of releases, destined to be set on repeat.

The stories being told match in tone, driven forward through a tantalising mix of urgency and despondency – mirroring the detached hustle of England’s capital.

There’s a little less edge than on debut ​‘Smiling With No Teeth’, but a softer lens offers more variety, and Genesis Owusu sails the spectrum of human experience with ease to make something just as weighty as the literature that inspired it.

While ultimately a step forward - most notably, in its introduction of greater lyrical vulnerability and richer sounds most notable - a little more cohesion wouldn’t have gone amiss.

A tightrope walk between impulse and laser-point precision, Human Performance is Parquet Courts at their most knotted.

Grant has a fascinating combination of wisdom, world-weary cynicism and righteous anger; it never grates.

A luscious, rich selection of otherworldly tracks, disparate in nature but still oddly cohesive. And it’s as timeless as that dreamy world JK Rowlin

It’s by far the happiest MUNA have sounded; a celebratory expression of queer love that loses none of the trio’s magic.

With Not Even Happiness she takes the listener on a beautiful, thoughtful journey.

Slowing down and refining his output has allowed Alex the time to make Rocket a brilliantly considered next step. It’s also his catchiest record yet.

The latter half of the record segues together without pausing to come up for air - and you can bet your bottom dollar that once ‘all this’ has blown over and live music returns, these tracks will come into their own. Until then, crank up the volume and stomp around your prison cell.

It’s more of a slow burner--not so instantly gratifying as previous works--but the atmosphere of these tracks really gets beneath you. It’s their most affecting work to date by some stretch.

Even on ‘Short n’ Sweet’’s less standout moments, Sabrina is still the spicy kick at its centre, ready to deliver a cheeky wink at every turn.

Harsh, aggressive, hungry, and urgent, Adore Life is everything a Savages album should be. Unexpectedly - and this proves its greatest success.

An swirling, abstract painting of an album, and an eclectic slow burner, Painted Ruins serves more as a fascinating indication of where Grizzly Bear could head next than anything else.