It’s uncompromising yet nonetheless inventive, with eccentric flows and inspired production choices.

FROOT finds her at her most accomplished and intriguing.

Mouse On Mars are returning in triumphant and rapturous fashion, both sealing their reputation as relentless innovators while basking in the glory as beacons of inspiration.

A tour de force of Eagulls' brash and brazen-faced formula, this is a record that’ll be ringing in your ears for days after it’s finished.

It’s the kind of stylistic pick’n’mix Mykki has made their name on: ‘Ketamine’ with Slug Christ nods to the latest iteration of pop-punk; ‘Your Love Was A Gift’ shows a fragility to Dianna Gordon’s vocals amid ghostly production; ‘Trust A Little Bit’ shimmers with a tender nature. And best of all, it works as a whole.

Tell Me If You Like To possesses the same breakneck speed spirit of their first steps. But it’s also a full-bodied beast, the sound of a band racing to the finish line to accept their prize.

What Clams Casino specialises in and what makes this record a success is his ability to seemingly carve beats from ice, so cold is the production. His signature sounds otherworldly, with the breathy synths and crisp bass a soundtrack to some interstellar gang warfare.

The result is that it all, somehow, sounds bizarrely natural. Landing in the unique middle ground between the ’70s warmth of Todd Rundgren (who lends guest vocals as Shane’s dad, of course) and Little Shop Of Horrors, Go To School is a genuine original.

[Missing U's] Thudding kick drum pounds away underneath defiant lyrics of heartache, and it’s as affecting as she’s ever been. It’s the rest of the record, though, that really excels, pointing the way forward for an artist changing her tune.

It is a fine album. Pointed without being preachy, cerebral without being inaccessible and never anything less than thrilling.

For the most part ‘Dance Fever’ is an expert revamp from one of alternative music’s torch-bearing misfits, a welcome shot of fairy-tale hedonism ripe for post-pandemic dancefloor indulgence.

Though a long time coming, it seems that not rushing a follow-up has allowed London Grammar to craft a record that’s hauntingly stark, yet staggeringly beautiful, possessing a rich musicality that even now, is mature beyond the band’s young years.

A truly astonishing, unique and unchallenged sound.

It all works together, amping up the winking, cheeky side of country while also showing CMAT to be an artist enthralled by the genre but not beholden to it.

Ten tracks of orgasm-loving, empowering anthems, that pack a punch musically as well as lyrically, what’s not to love?

Arc sees a stripped-back, 'more accessible' band.

Expanding upon the electronic foundations laid so deftly with EP ‘Hallucinations’, there’s an assuredness to PVRIS’ latest move - especially during the affirming closer ‘Wish You Well’ - that shows off just how much she’s conquered.

The variety of the record is tied together with a strong story-thread that prides itself on being cohesive.

It may seem strange to get so excited about a record of vocal loops, but Barwick continually proves that truism that art isn't about elements but what you make of them--and this latest album is simply sublime.

It’s a characteristic success and a massive delight to the fans that their return as a three-piece yields something as excellent as El Pintor.

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

The result is an album that feels expansive and unshackled, while still boasting a gnarly punk heart. Love it or hate it, one thing’s clear here: this band’s ambitions are soaring skyward.

The Weather still has their fundamentals at its core - out-there psych-rock, Nicholas Allbrook’s urgent wails, mind-boggling lyrics that take several listens to comprehend--but it’s given them a polish and an upgrade into something new and improved.

With songs that have long ago morphed into brutal initiations, if you can somehow defend yourself long enough Ho99o9 almost invite you to see their world through their hazed-over eyes. In a shadowy landscape of startling binary logic, it becomes easy to draw the line through through Converge, The Prodigy, Death Grips, Pantera, The Stooges, Danny Brown and DMX if you’re only here with that one goal--to start the fire. Ho99o9’s particular arson is burning bright.

By the closing moments of the eery ‘Monolith’, it all becomes clear: this is love, but through the unmistakable eyes of IDLES.

Gloomy, grey but definitely not dull, The Wytches have cast another stellar spell.

Like a hangover, ‘Roach’ lulls around in this contemplation in the dusky corners of a rough Sunday morning, yet it remains laced with a little intoxication: experimental production hides behind its corners, making ‘Roach’ a little more interesting. And elsewhere there exists moments where sunlight cracks through the drawn curtains.

A delightfully fun record.