‘Sorry I Haven’t Called’ is yet another accomplished chapter.

Every song seems to journey through a multitude of genres and eras while remaining coherent.

Asking familiar questions in downright bizarre ways, with a musical palette that continues to revel in awkwardness, slipperiness, and experimentation, Cate Le Bon is a dab hand at holding a warped mirror up to life, and reflecting things in unexpected ways by now.

Levine has done a wonderful job of creating a work whose humble beauty easily can captivate you if you let it.

The Coral may have been at this game for nigh-on two decades but there’s scarcely a moment here that seems tired or phoned-in. Instead, the Wirral lads have added another fascinating work to their canon.

How the listener takes Death Magic defines everything, but once again, even at their most open and exposed HEALTH completely defy definition.

Too Bright is a diverse, multi-faceted and all-absorbing slice of sheer mastery.

The songs only sound sleeker, more melodic, more intensely stoned.

Utilising a considered selection of guest vocalists, it takes a keener focus on rap and afrobeats, making good on the breadcrumb trail of singles that have tided fans over in the five-year album interim.

Picking favourites out of Segall’s catalogue is purely a matter of taste but Manipulator settles right in with his finest work, and will serve as an excellent entry point for newcomers to the weird world of Ty Segall.

Circling around Eva’s sharp, twangy vocals, the band’s second album is a gargantuan step forward, and one packed full of iron-clad mantras.

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.

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

Both lyrically and musically it looks backwards to move forwards, in tone adding to Evan’s beautiful and delicate melodies, and although he doesn’t quite find the light at the end of the tunnel, he certainly knows it’s been switched on.

It’s a very special record that offers more with every listen.

‘Collapsed In Sunbeams’ is an excellent character study, of both Arlo herself and the people who orbit around her.

It's an extremely fine album that is without doubt her best work yet.

Lyrically precise, and musically enriched with radical keyboard flourishes and arresting song-structures, what is most impressive about ‘Civilisation II’ is how KKB manage to tackle such worldly themes without ever sounding contrived. It’s a testament to a band continuously looking to innovate.

Like punk Doogie Howsers, MOURN use intellect and talent beyond their years to muscle their way in amongst the grown-ups and blow them all out of the water.

Afraid Of Heights is a far stronger and much more accomplished effort, sounding more like an apposite album than any of Wavves' back catalogue.

Sisyphus is easily the boldest project to come from any three of its members, and that’s saying a lot.

Oasis bled into mediocrity faster than you can say 'Blur were better', but just occasionally on Spacehopper in Tripwires you can see the same ambition and pop nous that made their early tracks such a thrill to the mainstream.

Like always, Little Mix shine best when they are deep in their millennial sass. Never shy about breaking a fourth wall in the name of female empowerment.

Sundara Karma might have set their sights high by naming their record for a man whose ambition spread to creating a whole system of writing, but Ulfilas’ Alphabet matches every lofty idea the band set themselves and then some.

A sense of an increasingly assured outfit emerges, shifting tempo with offbeat irregularity, their earlier inclination towards indie-leaning jangle-pop falling by the wayside, substituted with a definition that sets the band on an ever more consistent path.

This opening statement from a band emerging as one of Britain’s most inspired and uncompromising, could just be a strong starting step in a vivid and unconventional journey.

Granted, at some points it does feel a little unrelenting, but the sheer ferocity of this record illustrates a band intently focused on the future, and breaking through to the next level.

Coloring Book is exactly the kind of record necessary to elevate an artist from viable to visionary.