Gloomy, grey but definitely not dull, The Wytches have cast another stellar spell.

Jessie continues her journey to becoming a modern, soul-pop legend with a set of songs so palpably feel-good that it’s impossible not to start shoulder-shimmying at any given moment.

The energy of this debut is tangible.

Ultimately, though, it’s Pulido’s steady hand that brings an assured, if occasionally slight, album together where there was so much potential for these heavyweights to step on each other’s toes.

Goat are making true, sludged up psychedelia that seems to come from a new, specially cultivated brain-lobe.

The eight-track collection finds its voice through an ever more personal lens, one that dials down the familiar ignitable fare in favour of intricate ambient spread. In doing so, variation on past cues and themes are offered, sonically pared down yet expansive in concept – an effort that adds new facets and angles to Lykke Li’s art.

If there’s a curveball in what is a charmingly lo-fi release, it’s the higher vocal register he settles into for most of these tracks - something that might alienate fans of his tighter, poppier work circa ‘Salad Days’. Regardless, Mac’s back - for real, this time.

Pere Ubu's first studio recording in three years is a suitably abstruse, challenging and dense record, and yet another example of how Pere Ubu remain at the very peak of experimental avant rock.

A beautiful new offering, ‘Pony’ is equal parts heart wrenching and hopeful, and shows Rex back at his very finest.

Local Natives deliver a tale of affection deeply rooted in the realism of love, not just in romance but in life.

The reality though is that your ability to get on board with this record will depend more or less entirely on how you feel about its lyrical content.

This is a seductive if not immediately obvious piece of work, her adventures into folky-jazz work well, never straying too far from pleasing familiarity into all-out experimentalism.

Beautifully constructed, surprising and brimming with invention - looking back at all the incredible music Rostam’s been a part of over the years, it feels as if he’s saved a little for himself on ‘Changephobia’.

Groove Denied captures the finer points of Stephen Malkmus’ craftsmanship in wildly esoteric and robotic form.

Uncomplicated, joyful stuff.

Willowbank is utterly charming, shimmering and another step in Yumi Zouma’s quietly fascinating evolution.

A profoundly human listen, which sees the band bow out proudly, for now at least.

A bold, brave effort that’ll continue to see them rise through the rock ranks.

What the streamlined sound of ‘Homecoming’ lacks in broad musical scope, it more than makes up for in attitude.

It’s an album that’s far less direct than her debut, and more thoughtful.

In Roses is kind of a horrible record in a sense, praying on emotional weakness so aggressively--but, it's so achingly gorgeous, that it's hard not to dive in with a complete disregard for state of mind.

It’s unlikely they’ll stay still for any prolonged period of time, but for now Nai are tighter knit than ever before.

It would be a hard heart indeed not to fall for music as lovely as this.

What could have become overly sentimental instead presents as subtle and sincere. The sincerity is elevated by their understated tones, harking back to the beauty of Elliott Smith but swept into now by crisp production and experimental flourishes.

‘WOOF.’ is brilliant, dark, and downright batshit crazy.

Fall Into the Sun is the best Swearin’ record yet; that Allison and Kyle have not just reformed the band, but actually brought the creative best out of each other in doing so, is a powerful advert for reconciliation.

This is all very Daughter (and very good).

While this second album seems genuine, and at times very good, it just doesn't excite and satisfy in quite the same way as the spontaneous creativity of the debut. 'Gossamer' is one giant juxtaposition that can't quite sit comfortably.