It’s punk music with the intelligence of wizened old jazz musicians, and as a chronicle of the band’s hardships, it’s a much-welcome return.

The result is a consistently textured record, with beautifully integrated strings.

This is Against Me! shifting the topic but retaining all the glory: biting lyricism, punk fury and rock prowess wrapped up in an infectious and perfectly imperfect package.

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

The opening three numbers shine, showing a refreshing sound bursting at the seams with positivity, but the lack of variety means that, by the end, you may feel slightly bludgeoned by it all.

Preternaturals is graceful and intriguing, if not vastly pulse quickening.

The immediacy of the comparably short and sharp first half (at least in track number alone) gives way to a sprawling crescendo of epics – not least the near-19 minute ‘Planet Desperation’; a track as camp as it is masterful, with more than a gentle nod to the 1960s and ‘70s.

There’s a real energy emanating from mini-album ‘Broken Hearts & Beauty Sleep’ that very much echoes the artist’s sentiment. A glorious trip through all facets of Mykki’s musical personality.

‘Half Divorced’ is a bolshy barrage played out over the course of 12 short, sharp tracks.

The trick is that, while you know that she's stretching, she never sounds anything less than completely comfortable and in total control.

It’s at times heart-stopping and at others movingly barren, but is always thoroughly arresting.

Eighth studio album ‘Endless Summer Vacation’ emerges as a clear indication of someone who’s finally figured out who they are, resulting in a bold pop record oozing with the confidence and style that results from a period of self-discovery.

At times it's so polite and elegant it almost passes you by, yet on every song you're soon gently overpowered by the sheer heart and homespun wisdom of the lyrics.

Despite being a headrush of industrial, electronic blasts, the follow up to debut ‘GOB’ packs a warm heart.

Five feels like an exercise in softness of touch, maybe the most reserved White Lies album to date; there’s less bite than usual in Harry McVeigh’s vocals, and where previously the guitars would be spiky and nudge towards post-punk, there’s languid, melodic riffs on the likes of ‘Finish Line’ and ‘Denial’.

While there could be a little more individuality on show to elevate Claud to their contemporaries’ level, ‘Super Monster’ shows promise of a burgeoning artist finding their own voice.

‘The Dream’’s strength is in packing not just alt-J’s usual futuristic twist, but a heavy side serving of nostalgia too. It’s a perfect, subtle, and unpretentious combo.

This is an emotional juggernaut--an avalanche, in fact. Just when they look to have delivered their parting blow, in steps another moment that captures life’s ups and downs with perfection.

Overall Beat the Champ will no doubt prove a hit with die-hard Mountain Goats fans, however as a standalone album it lacks a coherent sound.

She once again explores new ventures, crafting a pop album that celebrates the old classics as well as the new, and cements her status as a true pop trailblazer.

Perhaps album 20 will take them, whatever their name is then, fully back into the light. For now, ORC's darkness suits us fine.

Flickering and darting across a vast sonic plane, the album is a worthwhile expedition and an interesting re-imagining of the past propelled into the future.

Life Without Sound feels more confident, the songs themselves coming from a more positive position.

From the shifting tempos of ‘Copper Mines’ to the serene beginning and raucous math-y crescendo of closer ‘Hold Your Own Hand’ When You Walk A Long Distance And You Are Tired is never settled, and never should be.

With Alas Salvation, they’ve set a marker for every borderline-insane newcomer emerging in the next decade.

In Woman, they’ve bypassed the hurdle of dangerous, immaterial preconceptions by creating the ultimate debut album: a future classic brimming with effortless, tangible love songs.

With resounding beauty, ‘Heterosexuality’ deconstructs social norms through a powerful freedom of self-expression, yet also acknowledges this pain and struggle.

Days Are Gone confirms what everybody already knew in fabulous style; that Haim are the band to shout about.