At its heaviest, ‘TEXIS’ is blistering, ‘Justine Go Genesis’ as mind-bendingly intense as it gets, with closer ‘Hummingbird Bomb’ and single ‘Locust Laced’ not far behind. And when synths do take centre stage, no impact is lost: ‘True Seekers’ and ‘I’m Not Down’ are akin to a more in-your-face Chvrches, Alexis’ vocal sitting juxtaposed with expansive electronics. It’s the best of both worlds.

‘A Beautiful Revolution Pt. 2’ is a sweet paean to music’s mood-boosting properties, as well as it capacity to effect meaningful change.

There’s a track or two that don’t add much to the album’s direction, ‘Maggot’ being one of them. But on the whole, this feels like Amyl and the Sniffers finding their purpose. It’s something to behold.

There’s a sense of the trio reaching for a comfort blanket, turning back towards the intellectual pop that inspired them as youngsters in the ‘80s.

‘star-crossed’ mirrors the pain of a breakup, from turbulence through heartbreak to hope and self-acceptance. It’s here where she fully embraces Nashville storytelling. Far from spinning distant, third-person tales, each track feels incredibly personal.

If ‘GREY Area’ saw Simz come-of-age as a rapper, ‘Sometimes I Might Be Introvert’ is Simz making her first long-lasting artistic stamp on the zeitgeist.

It's in the middle where the album begins to sag, thanks to some monotonous backings and noticeably weaker hooks ('Remote Control'/'Tell the Vision') which lead the runtime to become alarmingly apparent, before strong features on 'Keep My Spirit Alive', 'Moon' and 'Pure Souls' further begin to force Kanye awkwardly into the background on his own album. He positions himself closer to the spotlight towards the final third.

In a world where musicians can feel pressured to release albums year after year, Maisie took her time with this one, resulting in an album that could well be timeless.

The record is not quite so relentless that it needs a pause, and at points feels as if it should move up a pace, decibel or pitch instead of the opposite way.

An invigorating, thrashing effort - which is ultimately also a lot of fun - ‘Glow On’ shows off just how innovative hardcore could become.

It’s simultaneously euphoric and angsty.

‘Screen Violence’ marries visceral anger and empowerment. The result is their most euphoric rallying cry to date.

As is always the case with albums of this nature that brim top-to-toe with guests, it’s sometimes hard to locate the thread that runs through it all. Nevertheless, there’s a terrific bounty to be enjoyed in the centre of the Vernon-Dessner Venn diagram.

It’s only when he tries to amp it up that ‘Chew The Scenery’ falters; ‘Stuck’ might possess a standard freshers indie chorus, but when it aims for Oasis-level swagger, it meets closer to the Gallaghers’ recent solo endeavours than bucket-hatted air-punches. Similarly the euphoria of ‘Yeah!’ misses the mark. Still, there are more than a handful of stellar moments.

For the most part, the record is a heady trip that prances around greatness but settles for pretty good.

There are nods to The Velvet Underground’s knack for dreamy simplicity (‘Blind’), and times when Viscius peeks into Vivian Girls-adjacent, more garage territory (‘Take That Back’). For the most part, however, ‘Everything’ operates from within the particular fog of grief: fragile, tactile, tender. It’s a frequently gorgeous thing.

‘Into The Blue’ largely finds itself coasting on one level. The standouts are the songs that break out of the formula.

For an artist usually so meticulous with her vision, that these are able to sound so airy, almost frivolous - and, indeed, they were recorded back in 2020 as more of a exercise than intended for release - makes this curio of an EP all the more engaging.

It has the potential to be an outstanding listen, and it would have been if ‘Other Language’ and ‘In Blur’ had a slightly stronger sense of direction, but Deafheaven has still crafted a record to get lost in. The metal purists crying sellout will sorely be missing out.

‘Deep States’ provides, perhaps unsurprisingly, a difficult listen at times, weighed down as it is by its overwhelming lyrical bluster. Penultimate track ‘Legal Ghosts’ is however an unexpected moment of melodic tenderness - this elusive tale of loss revealing a soft underbelly beneath this otherwise bristly, tough-skinned offering.

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

Orla Gartland’s debut is an intricate, carefully-constructed collection, blending together indie-pop, folk and alternative rock. She masterfully layers sounds so not even a hand-clap feels out of place and even empty space is used well.

And while, perhaps, this more reflective musing on American life wasn’t quite what we’d come to expect from The Killers, ‘Pressure Machine’ does prove that not all escapism arrives with a hook-laden chorus. This is an album which invites you to dig a little deeper.

This is by no means a ripping up of the rule book for Jade, but from this side-step where she’s going next could be anyone’s guess.

Ihe duo’s latest project is a barrage of positivity with a collection of upbeat anthems perfect for a sun-soaked summer of love.

‘Model Citizen’ takes everything that has driven the scene forward and injects an unapologetic - and very welcome - Gen Z spin.

A collection of the best of what has come before, ‘Draw Down The Moon’ finds coherence in its unashamed madness. It’s pulled together by Connor Murphy’s unique vocal performance, and the welcome dominance of drummer Jon Hellwig.

IDER are back at what they do best, providing a glimmering sense of hope that we aren’t alone with our anxieties.