The diary-entry nature of Bea’s songwriting - over twelve tracks she dips into hair dye as empowerment (‘Dye It Red’), self-harm via blistering highlight ‘Charlie Brown’, and a not-particularly-well-hidden reference to her boyfriend in ‘Horen Sarrison’ - makes the fuzzy, bubblegum grunge of ‘Fake It Flowers’ a perfect brooding soundtrack.

Much of his recent work remains underrated, but by ‘Monuments…’, he was beginning to sound a little short on ideas; happily, the simplicity of Ogilala seems as if it’s rejuvenated him.

At 71 captivating minutes, ‘Heavy Pendulum’ provides a touchstone, alongside new-wave, disruptive tracks that seek to tell tales of political turmoil, the ‘new reality’ of grief and posthumous brotherhood. A long-overdue homecoming.

CLAMM may not be the first group to venture out into the fuzzy Australian wilderness, but with Beseech Me, they’ve shown they might just be the best.

While Horsegirl aren’t presenting groundbreaking musical ideas, on this joyful second outing the band clearly aren’t shying away from new sonic personas.

It's not noise for noise's sake--it's melodic. It's quiet at points, frantic at others. It's dark, it's messy, it's a dank and smelly basement.

There’s little doubt that she’s not finished yet--We Slept At Last gives hints of an artist who could go on for decades, so long as she continues to transport everyday souls into different worlds.

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.

This time, the fiery furnace powering their new record comes from slashing open every membrane; letting ideas wildly collide like supercharged, excitable atoms. Brushstrokes and processes are all over this record.

It’s woozy, dreamlike bliss and Mauro Remmidi owns it well.

A fresh, vital take on what post-hardcore can sound like in 2025.

A weird and wonderful new offering.

Kai James’ overt framing of the album acts as a sort of meta literary device, immediately establishing its character and concept (namely, himself and his own mental ill-health) with the narrative nous of fellow Aussie Courtney Barnett. Indeed, over the course of the next ten tracks, it’s as if you’ve been transposed directly into James’ frontal cortex.

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.

A gorgeous, luscious Eels record, sounding every bit as familiar as any of that suggests, the country-tinged guitars, the organs, piano, sprinkling of xylophone and those comfortingly gravelly vocals in which the world's in love.

It’s refined, mature and an affirmation of the levels she could reach, on a similar path to star labelmates Phoebe Bridgers, Mitski and Japanese Breakfast.

Proffering intimate lyrics on private grief and personal growth (‘Erase’ finds inspiration in the lifecycle of a moth) with the most gorgeously purified vocal shimmer; it’s the cherry that tops this most satisfying of releases, destined to be set on repeat.

This is hyperactive music, pushed to its limits.

While ‘The Hum’ proved a logical step forward for Hookworms, ‘Microshift’ pays little attention to the script, and is all the more thrilling for it.

A supremely intricate record which unfolds further with every listen - much like the brooding build of ‘In Birdsong’ - the band’s fifth album is, at times, a shadowy beast, and it’s sure to leave a mark.

These songs will inevitably end up stuck in their heads. In short, it’s bloody lovely.

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

‘Dark Rainbow’ sounds like many of the best bits of each of their previous records. From rousing opener ‘Honey’ to the soft ballad closer of ‘A Dark Rainbow’, there’s a familiarity without ever feeling rehashed; that is to say existing fans will be pleased, while any new ears this falls on should want to hear more.

To Be Kind is a unique and wonderful achievement from a unique and wonderful band.

With this record Hopkins has finally succeeded in putting on record a definitive statement of his musical vision and ideas.

‘The Weightless Hour’ is a mature record that sounds completely at peace with its place in life.

There’s so much going on here that it can be borderline overwhelming. It’s a record that’s enigmatic, a little deceptive in places, and thoroughly gripping throughout.

A great album full of slightly haywire, unpretentious pop music.