The Los Angeles singer-songwriter spinning tales of dark, often questionable situations in a barely-there whisper atop folkish instrumentation that owes similar debts to the city’s famed ‘70s scene and Elliott Smith. With yes, witty lyrical asides that jar smartly with his seemingly timeless sound.

Beneath the slightly grating kookiness, FEET's songwriting is genuinely exciting.

The universal themes and her way to create tales that draw you in, make for an album that’s more emotionally resonant than her debut.

It’s a joyful listen from start to finish; a playful, experimental, and carefully crafted debut, which is hopefully just the beginning of what Bullion has to offer.

While some of the stylistic variation here can feel disjointed at times, there’s plenty on offer to suggest a band on the rise, capable of rising even higher.

With Love is a flawed collection that is on a par with Zomby’s previous work but one that is minted in the producer’s unique persona.

It takes a certain wide-eyed energy to make cracking pop music, something Pale Waves definitely possess - and though ‘Who Am I?’ isn’t quite the bastion of empowerment it was intended to be, it has some glimmering moments.

Whilst this beast will satisfy the ravenous converted, skeptics are set to remain agnostic.

Charming, tender and admirably vulnerable, ‘Build A Problem’ is a profoundly freeing reflection on the struggles of youth, growth and identity.

Dignan Porch are slightly less effective at a less sprightly pace, veering too close to the point of collapse on 'And Are Now Not', but this is a fine exercise in pearly, bleary eyed acid pop.

It's full of wonderfully written lines, often intimate, sincere and grotesque, and sometimes weirdly anglophile.

It all has a vintage feel to it, too, with hints of Faces’ guitar strumming styles, but that’s combined with a more modern approach; here, Wolfhard could be a cousin of Alex G or MJ Lenderman, but with the energy of UK band C Turtle.

A refreshingly enjoyable album.

A decent album, then. Not a great one, but one that can still hold its own against any other indie rock album released this year. There’s life in these old veterans yet.

On the whole, the impact of their whip-smart offerings is striking, throughout the album’s staggering seventeen tracks, it does become easy to get a little lost.

It’s an album which sees the band taking new sounds and crafting songs in new ways. But this tightness and restraint is sometimes to the detriment of the songs.

On her hugely-anticipated third, there’s plenty of sun-drenched sonic optimism but not so much that’s all that radical.

Melancholic and joyful, it's both soft and harsh, but more impressive than any contradiction is the gorgeous use of timbre that takes over from the word go. A wonderfully simple, elegantly performed album that puts the importance of texture into perspective.

She has the ability to carve out some gorgeous pop songs, but seems to be trying to cover too many bases.

Although the remixes do not do the original songs on 'Gloss Drop' justice, 'Dross Glop' does give other artists their chance to interpret Battles' songs in their own way, from a rap twist with Shabazz Palaces to others going into even more experimental territory than the band themselves.

While better executed at certain points than others, the band’s varied selection of instrumental textures remains a defining feature; from the riff-driven frenzy of ‘Talking Radiance’ to the minimalist, piano-led touch of ‘Venus’, there’s an inharmonious harmony that pervades.

At the end of the day, what Matt Maltese does best is conjure kitchen sink dramedies. And with ‘Krystal’, his ability to do that is as strong as ever. The melodies feel more like accompaniments to the stories; a canvas on which to paint. But the wry yet heartbreaking lyrics that accompany it shows an artist who has grown. As enviably funny as ever, but this time a little more self-aware.

So we get the usual talk of death rides, mescalitoes and, erm, black pudding. But when the duo do click, it’s masterful.

‘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.

‘Flora Fauna’ is the sound of a measured spreading of Billie Marten’s wings - of careful progress. She’s still really young: there’s more to come.

An album that finds the prodigious artist enjoying himself yet again.

On the album’s most transcendental moments, its slow pace tires like the midsection of a dissertation, but nonetheless its beauty and melancholia is infectious.

Even the weakest Libs composition is a standard many British songwriters can only aspire to, to this day. If nothing else, it’s heartwarming that the story is still unfolding for the Likely Lads.