They pair their trademark hard-and-soft contrast – a sound which, in hindsight, could be deemed proto-hyperpop – with a litany of references that bring to mind Dua Lipa’s concept of ‘Future Nostalgia’, or a reverse Back To The Future Part II, in which Alexis and bandmate Derek Miller present an imagined late-21st Century past via a vivid 2025 lens.

Indulgent by design but illuminated with imagination, it takes a few listens for the LP’s diamonds to truly shine, but when they do, they really shine bright.

Pulp aren’t taking this chance to merely dine out on nostalgia; instead, they’re returning as evolutions, not imitations, of their past selves - grateful for what they have, while they have it.

‘Angels & Queens – Part I’ is nothing if not an intense listen.

‘Expired Candy’ is a whole lot more fun than its sour, stale name might suggest.

For those who like their light-hearted empty-headed fun to contain a certain amount of concealed depth, Dynamics certainly does the trick.

Another triumph.

It’s all gorgeously rich in both sound and delivery.

Regardless of tone or subject, she fills every lyric with a divine authenticity and matter-of-factness. Her vocals are delicate but always immediate, sitting somewhere between Angel Olsen’s dulcet croon and the twinkle of Sufjan Stevens. In short, Stella Donnelly has got the world in her palm, and the brain to do exactly what she wants with it.

Innovative, cerebral and yet totally accessible, Total Strife Forever is an incredibly impressive record.

Packed with wit, super-sharp song-writing, and charged with Diet Cig’s now-distinctive personality, Swear I’m Good At This should probably be called ‘Swear I’m Fucking Ace At This’ instead for higher accuracy levels.

An understated kaleidoscope of beautiful arrangements, raw emotion and literate songwriting that is nothing less than moving.

Though Weather Diaries is a solid effort from a band trying to balance their mastery of shoegaze with other, outside elements, the strongest tracks on Weather Diaries are when the band fully embrace the skeleton of the songwriting formula they’d perfected over two decades ago.

They might not have returned to their hardcore roots, but Ceremony have veered off into an abyss of misery of despair again, and they’re back on track because of it.

On White Women, even the dodgy in-jokes are drowned out by astute songwriting.

The perfect soundtrack to the festival season and those long days when you sit in the shade with a cool drink.

His sixth LP employs a rich palate in its production seamlessly blending trap beats with soul samples and orchestral flourishes.

It’s more of a slow burner--not so instantly gratifying as previous works--but the atmosphere of these tracks really gets beneath you. It’s their most affecting work to date by some stretch.

Taken together, the albums are overwhelming in their stylistic diversity; one minute, she’s serving up clattering electro on the likes of iii’s ‘Skullqueen’ or ‘Ripples’, and the next, we’re hearing her break classic ideas of what ambience should mean to fit her own mould on the Oliver Coates-featuring ‘Esuna’.

This latest effort from Australian trio Methyl Ethel is a lithe, sinewy creature, by turns weighted and buoyant, half darkness and half shimmering light.

A decidedly more organic record; buoyant and witty, and notably shy of meandering eight-minute odysseys.

Taken together, the albums are overwhelming in their stylistic diversity; one minute, she’s serving up clattering electro on the likes of iii’s ‘Skullqueen’ or ‘Ripples’, and the next, we’re hearing her break classic ideas of what ambience should mean to fit her own mould on the Oliver Coates-featuring ‘Esuna’

Flourish // Perish is a thoroughly rewarding listen.

It’s unlikely to win over the naysayers, but, for those already enamoured with their kitchen sink Dadaism, ‘Stumpwork’ is yet more magic from Dry Cleaning.

Choreography is tailor made alternative pop of the highest degree, with enough ear friendly, sing-a-long melodies to entice even the 'older' generation.

An album without an obvious theme or concept it may be, but somehow, it’s still quintessentially The Killers. It may not be the all-out stadium epic we’ve come to expect from the band but it’s still wonderful (wonderful).

Taken together, the albums are overwhelming in their stylistic diversity; one minute, she’s serving up clattering electro on the likes of iii’s ‘Skullqueen’ or ‘Ripples’, and the next, we’re hearing her break classic ideas of what ambience should mean to fit her own mould on the Oliver Coates-featuring ‘Esuna’.

Overall, ‘Unclouded’ is a further incantation of psych-pop goodness.