Nothing quite comes close to ‘Cars In Space’ for desk-slapping earwormery, but with three singer-guitarists at play, the music chops and weaves with an impressive intricacy, always stopping itself short of self-indulgence. If you’re looking for a modern, uplifting celebration of all things riff, these boys have got your back.

Pairing this with sincere lyricism and soaring musicianship, ‘A Quickening’ emerges as Orlando Weeks’ most personal record by far, and is nothing short of stunning.

After such a long time away, ‘Good Woman’ finds The Staves rejuvenated and inspired, treading new ground while retaining the identity that made them so loveable in the first place. For all the trials bestowed upon the trio in the past few years, they emerge positive and victorious, changing and creating music on their own terms as echoed on closer ‘Waiting On Me To Change.’

Not only are many of the tracks here vocal driven, there are some single-worthy hooks too.

‘The Kick’ doesn’t try to run or distract from feelings of loss and loneliness, instead it faces them head-on while celebrating the joy of being with others through it all.

[Pa Salieu] The Ghanaian-British rapper is one of a handful of guests here, each of whom allow Ibeyi to reflect the past and present simultaneously.

A record of warm and soaring pop-rock that still manages to both delight and intrigue, ‘Palomino’ is the sound of a duo still roaming new territory, but feeling more confident than ever.

‘Aperture’ stays true to its title, Hannah adjusting her lens with ease and darting nimbly between styles. The album bridges the gap between adolescence and adulthood; Hannah Jadagu jumps high between the two and lands firmly on her feet.

All dials are turned up to eleven for PVRIS’ fourth album. .... Sometimes it means they possess a heaviness not found since the outfit’s rockier days of old, such as in the industrial clatter of ‘HYPE ZOMBIES’, but it may be an acquired taste, and occasional moments feel overcooked, such as on the juddering early single ‘ANIMAL’. Elsewhere, however, are a plethora of cast-iron, genreless bangers, some of which are the catchiest tracks Lynn Gunn has put her name to.

Perhaps her most personal, but also her most diverse.

Effortlessly jumping between belted choruses and wistful pauses for vulnerability, she orients herself around the conflicting forces of uncertainty and longing.

A huge step forward musically, as it would appear to be personally.

Whilst it's a shame we've had to wait the best part of a decade for this collection of songs there is rejoicing in the fact these have been released to the musical world. There is little that will trouble MTV playlist compilers but much to satisfy soul-deprived purists.

‘Children of the Sky’ and ‘Gravity’ both prove that its possible for the duo to summon up genuine atmosphere without bogging down the songs with overcooked compositions. There’s still the odd experimental misstep - the meandering ‘Eyes of the Overworld’ in particular - but for the most part, ‘X…’ is endearingly light on its feet in a manner that suggests a real rejuvenation in Conrad and Jason’s creative partnership.

Tell Me How You Really Feel is a more mature record, and lyrically the most direct and honest Courtney has been to date.

On ‘Utopian Ashes’, Bobby Gillespie and Jehnny Beth breathe new life into an old formula, and surface triumphant.

You're Nothing is the magnificent transition from teens powered by punk angst to men mastering aggressive rock songs.

With lyrics that simmer with self-awareness serving as the record’s backbone, the obvious points of comparison are Parquet Courts and Car Seat Headrest, but the idiosyncrasies that really make ‘Collector’ tick feel as if they’re all Disq’s own, from the subtle subversions of pop and rock tropes to the wry-beyond-their-years witticisms at every turn.

Hazy and forlorn but peaceful record, one that reaffirms their stake in the genre.

‘High Risk Behaviour’ is a record that’s bound to solidify The Chats’ name as a truly unique proposition.

The shifts are subtle but notable, providing another brilliant backdrop for Jeremy’s largely pained candour.

‘Beginners’ and ‘Radio Tokyo’ lead the way in the clout department, and increasingly, Hookworms sound like a band comfortable with being immediate as well as complex.

It’s the fuller pieces that really make you want to keep coming back.

As surefire a bet for bigger things as there’ll ever be, for the most part it’s a resounding success.

The elements needed to make Katie Crutchfield one of the greatest songwriters in indie rock have always been present, just not slotted together perfectly. When they do so on large amounts of Out In The Storm, the record provides of the most satisfying pinnacles of the year.

With fourth album Reflektor, their past is documented in vivid detail, delivered with such urgency and bombast it's difficult to look ahead. But look ahead they do, arriving with their fullest and most ambitious record to date.

Distractions is a highly intelligent, subtle and thoroughly immersive record. Each hook and strained vocal witholds a considered approach that is testament to the brittle nature of the music that Sauna Youth create.

It’s a record that’s well-travelled, that’s absorbed a whole myriad of influence and taken two years to digest it into something cohesive. But, impressively, it’s a record that still holds its identity despite all the ideas it’s binding together.