Jungle have largely played it safe here; the feelgood alt-funk of ‘Heavy, California’ could sit seamlessly alongside anything from their debut, while the ominous nocturnal strut of single ‘Happy Man’ is just ‘Busy Earnin” Mk II.

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

Mothers have taken their tactics of constant instrumental juxtapositions into another realm, somehow finding a middle ground between the pleasant and the discordant, where Mothers have comfortably found their niche--it’s not always uplifting, but it consistently delivers.

Language could afford to lose a few numbers--particularly the low-energy likes of ‘Body’ and ‘Girlfriend’--but there’s more than enough evidence here that MNEK is a potent force in his own right.

This is an offshoot of Waxahatchee that may fail to bring in fans anew, but offers plenty for those wanting a return to Katie Crutchfield’s more acoustic roots.

This album only re-affirms his unique and inimitable talent.

hile ‘Back in Brazil’ is a tad baffling, ‘Caesar Rock’ doesn’t quite hit the right notes, and ‘People Want Peace’ feels a tad trite, even from one of the (probable) pioneers of the peace hand signal. Still, it’s hard to leave Egypt Station without a grin.

The result is that it all, somehow, sounds bizarrely natural. Landing in the unique middle ground between the ’70s warmth of Todd Rundgren (who lends guest vocals as Shane’s dad, of course) and Little Shop Of Horrors, Go To School is a genuine original.

While Dance on the Blacktop won’t mean everything to everyone, its considered construction, intriguing philosophising and plain old barbed-wire hooks mean it’s certain to mean everything to someone.

An album, according to Dev, about “black depression, black existence and the ongoing anxieties of queer / people of colour”, Negro Swan is a record that radiates these tensions; subtle and amorphous, it’s not the most immediate listen, but it’s undoubtedly one with real weight.

Depth is assured by some strong variations to the established formula.

It’s a heftier beast that still reaches all-guns-blazing crescendos like it’s no biggie, but for the most part is slower, louder, and easier to lose oneself in than its rapid-fire younger brother, resounding proof that Spring King are still on an upward trajectory with no signs of slowing.

A record both charming and bold, the dichotomy of upbeat indie-pop and brutally honest lyricism only adds to its appeal.

There’s plenty to discover here on a diverse record that takes a lot of interesting turns, and while there are some unsuccessful moments, there’s also plenty for indie-pop fans to get their teeth stuck into.

With its high concepts and bold instrumentals the album feels a little heavy at times, but you really can’t fault its ambition.

With just about enough sonic variation to keep things interesting, there’s a more pristine, altogether more polished feel to this collection of tracks no doubt the result of an artist who’s getting closer to refining their craft.

When so much of what Juanita had written for Until the Lights Fade clearly involves a folk-rock flavour, it’s a shame it wasn’t fleshed out accordingly.

Across its 40-odd minutes, Joy As An Act of Resistance makes you want to laugh and cry and roar into the wind and cradle your nearest and dearest. It is a beautiful slice of humanity delivered by a group of men whose vulnerability and heart has become a guiding light in the fog for an increasing community of fans who don’t just want, but need this.

Honne’s crystalline, Mura Masa-esque beats will see them through--though only as easy-listening, nothing more.

Invitation to Her’s is an occasionally jarring listen, thanks to its stylistic restlessness, but there’s enough substance behind the silliness to leave you feeling they’re following through on their early prom

Performance doesn’t necessarily take White Denim in a drastically different direction, but it captures so many of the different sides of the band’s multi-faceted sound that it feels expansive and wholesome.

‘Stay In Touch’ is a hip-shaking highlight, and the one true surprise here, but largely Marauder simply sees Interpol proving their worth once again, and their prowess for creating bleak, blackened indie rock that’s full of feeling.

Trevor Powers has crafted an album full of malice and aggression that it lives up to its title, but it is peppered with themes of hope and optimism.

The Coral may have been at this game for nigh-on two decades but there’s scarcely a moment here that seems tired or phoned-in. Instead, the Wirral lads have added another fascinating work to their canon.

By keeping enough of the old--and allowing themselves the space to go a little heart-on-sleeve--their tales of 2010s disillusionment are a resounding success.

Singles ‘Level’ and ‘Being Around’ are given a new lick of paint, while newies ‘I Wish It Was Sunday - an invigorating thrash defined by screeching guitar solos - and closer ‘Boring’--a live favourite that sounds even more intense on record--show that Our Girl can more than hold their own across a full-length. It’s what’ll come next that we’re most excited about though.

Thank You for Today marks the stirring opening of a new chapter in this band’s already storied history.

The events of two years ago might have left Cullen dejected, but he’s managed to spin beauty out of those bad times.