On ‘A Fistful of Peaches’ Black Honey have doubled down on what’s worked for them to date, while offering a glimpse at potential future directions.

A glorious running of pure pop’s emotional gamut, ‘The Good Witch’ is an accomplished, bewitching listen.

Here, he does indeed examine music’s most ubiquitous theme - namely, the deeply personal yet universal anguish of matters of the heart - but elevates it such that even the most quotidian of details becomes filmic.

There’s also the disappointing ‘Sinking Kind Of Feeling’ and opener ‘Other Side’, the latter’s slow build at odds with the overall tone of the record. Still, it’s a great stride forwards with some tracks that’ll likely go down as some of the band’s best.

Throughout the album, hidden instrumental flourishes surface with repeat plays, though some stay too buried. Elsewhere, the decadent production swallows her breathy voice (‘The Answer’, ‘Hold Fire’).

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

It meanders a touch in the middle, but in general Olympia is a genuinely bold attempt from Austra to expand on their debut while retaining most of what it was that made them stand out in the first place.

While ‘I Love You Like A Brother’ was littered with memorable choruses that would be lodged in your brain after one listen, it takes a good while of digging into ‘The Best Of Luck Club’ to find something that sticks.

All-in-all, ‘Man Made’ is an impressively accomplished, ever-giving record that rarely fails to enchant.

Whilst they haven’t stumbled at the unshakeable hurdle of the difficult second album, the ‘Wow’ factor of their debut has since diminished. Thankfully, there’s enough youthful grit and promise on show here to suggest that that spectacular something is on the horizon.

A tense and absorbing record that creates its own world for you to live in.

Not only safe, Music Complete serves to dilute New Order’s output.

‘Soberish’ sounds more like her early work, with its lo-fi stylings and ramshackle guitars. Lyrically, this record teases her more sentimental side, but even then, she openly admits to not wanting to reveal her true self to the listener.

Too is a big, dumb-smart, happy-sad, universally-specific beast of a record, then.

It’s not necessarily one to be filed alongside ‘Parklife’ or ‘Definitely Maybe, but there’s a distinct whiff of the era’s wistfulness across ‘Human’ and ‘Spies’ - plus a cheeky repeated “hello” in ‘Pretty Face’ that’s surely a nod to the Oasis track of the same name.

It's not a record that will convert anyone who had previously dismissed these two Canadians, but it preaches a sermon that the present congregation will enjoy to their heart's content.

Contrary to the band’s name, there are a lot of joys to be found in Wait To Pleasure.

New Moon is a rare and very special album.

Meiburg and the group have swapped the muddy tranquillity that kept them muted and unheard for a daring dose of starry eyed wonderment that really should unleash the groups collective wings, enabling them to fly higher than ever before.

Ultimately an exercise in Sunflower Bean showing off that they can do just about everything well.

As a record, it lacks a coherent identity.

From what they’ve cooked up here, it’s hard to imagine hearing a record this immersive and mesmerising from anyone else.

This record still feels raw, it still feels intimate, but a little more bold in its sentiments. It’s in those moments of bravery and risk that Rice still stands worthy of his heart-wrenching troubadour title.

Alexis Taylor’s discovery and consequent understanding of the importance of religion and its expansive scriptures are well captured in this reflective release.

While songs like 'Significant Bullet' and 'Leominster' feel like slightly unnecessary inclusions and can cause the listening experience to drag slightly, this is a very impressive record with some truly excellent songs.

It’s a collection of songs that reflects anxiety and paranoia, a distrust of the present but also belief in their own ability. It also presents a band with a future in which they have opened up new avenues for themselves.

‘PREY//IV’ does not shy away from Alice’s story; instead, its imagery is violent and visceral, with portraits of isolation (‘PINNED BENEATH LIMBS’) and self harm (‘BABY TEETH’) riddled throughout an album defined by a sort of constant itchiness, a wish to rid itself of trauma by occupying it so fully.

At its core, ‘Girl Violence’ is a portrayal of melodramatic love and its overwhelming possession that’s as earnest, self-indulgent and womanising as expected from the King Princess demeanour.