While the album is certainly softer in sound, it never plays it safe - experimental pay-offs are peppered throughout.

Transforming troubles into huge disco-pop bangers, these may be difficult times, but NZCA LINES will be throwing the greatest party ever nonetheless.

The signs for the band’s third aren’t too rosy, and yet their latest does go some way to showing the defter touch they first struck out with.

Emotionally honest, across its twelve tracks the group detail feelings of longing, losing your sense of self and awaiting something more in a wholly atmospheric manner. Ripping up their rulebook? Hardly. Giving long-time fans something new to enjoy? You bet.

While the classic Warpaint tropes - clever, heady interplay; four voices weaving as one - are present and correct, this time the more icy edges are rounded off in favour of softness and a nurturing sense of femininity.

Each track conjures up dusty Nashville bars, from the spoken word sandwiched between a lament to love on album closer ‘Chain Of Tears’ to a knowing play on country cliches on Jenny’s exploration of happiness in her forties, ‘Puppy and a Truck’.

Heavy with feeling throughout, it makes for a record that’s often a tough listen. But for cathartically allowing herself to tackle life’s most difficult subjects, you’ve got to applaud her.

Dizzee remains in touch with the youthful verve of earlier efforts with ‘E3 AF’, a freshness that, for the most part, is carried throughout.

It’s not quite the full spectrum of colours, but there’s an ambitious scale within its palette that allows Arca to craft the textural masterpiece that Xen quite often hints at being.

Much like Nirvana's 'Incesticide' or Smashing Pumpkins 'Pisces Iscariot', this is an excellent record in its own right, and an essential addition to any collection for both ardent Frankophiles as well as those just discovering him.

While not wholly consistent, Teleman’s third LP contains some of their best work yet.

A melting pot of the band’s real-life influences - with more elements of dance and hip hop thrown into their rock hybrid than ever before - this is a version of You Me At Six we’ve never seen before, and it’s certainly bold.

It’s Claud’s willingness to inject humour and playfulness into an ultimately ambitious record that makes ‘Supermodels’ work.

Most importantly, though, ‘Santhosam’ lives up to its name, as a record that reflects happiness.

‘Eels Time!’ is arguably a touch one-track, and more casual fans may pine for the sonic diversity of ‘Souljacker’. Those who love E at his most contemplative, though, will find plenty to like.

Fans of Fucked Up’s more experimental efforts may be left slightly underwhelmed by Glass Boys, but for what is at heart a hardcore band, it is still a hugely ambitious and exciting record, that hits top gear almost immediately and barely shifts down until the final piano melody of its eponymous closer.

Social despondency and visceral frustration run throughout ‘I Grow Tired But Dare Not Fall Asleep’, a masterful soundtrack to a failing society - one that carries even more weight as we redefine community, connection and togetherness.

It’s a record that feels at once deeply personal and eloquently grand at once. All this aside, musically Sirens is up there with Jaar’s best work

Their second record hits harder, digs deeper and lingers longer than that promising debut, and keeping all eyes on their art proves to be the best statement Preoccupations could ever have offered.

In the end, this is an album with a whimsical construct that fails to extend its ideas and live up to its musical promise.

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

Sonnymoon have taken all that we know of our earthly pop, and reconstructed them through the eyes of an alien, and as their first official attempt, it's a pretty good one.

The record’s constant hums and oohs at times whitewash even Algiers’ loftiest intentions, but the moments of clarity amongst all the murk mark the trio out as something staunchly individual.

[In Our Heads] is another joyous triumph.

It may seem strange to get so excited about a record of vocal loops, but Barwick continually proves that truism that art isn't about elements but what you make of them--and this latest album is simply sublime.

Baird has produced a record that you know deserves to be heard, yet want to keep all to yourself.

Pixx has created a debut record that shows her to be a fascinating prospect, and though significant turmoil informed the record, the pay-off is equally as great.

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.