It’s been four years since the band’s previous album ‘Rispah’. That period of self-reflection and resulting new energy is presented beautifully here, and despite the mantra of patience, is delivered with a sense of immediacy.

At times, their ambition really clicks into place (the euphoric bounce of ‘Smoking Weed Alone’, for example), but at others, it feels a bit muddled. Their ambition is undoubtedly to be applauded, but this one’s a bit of a mixed bag.

Get taken away by the current, and float inside every melody. It’s more intoxicating than even the most lucrative bar deal on Jägerbombs.

The Shape Of Things is another compelling collection of clever electronic pop.

It's a patchy but rich tapestry of sounds whose strange shape bewitches you.

Amateurish, but defiantly unperturbed, this is a grave and momentous listen.

From start to finish, Vultures is a relentless storm of roaring rock royalty.

When they get past their demons, Half Moon Run sit somewhere between accomplished musicians and potential game-changers. Too often they settle into a default mode, rarely hitting the melodic highs of ‘It Works Itself Out’ or the enraged bruiser ‘Consider Yourself’.

It may not have the depth of some of their counterparts, but it easily makes up for it with refreshing, confident fun.

In digging back through music history’s treasure trove, Childhood have forged ahead into genuinely exciting new ground. They might have broken through with a bunch of other bands, but now Childhood don’t need anyone but themselves.

It's further proof that Orbital aren't content to stand still and rest on the laurels that have made them ones to watch at festivals. 'Wonky' as an album is sexy, smart, and filled with all the potential to smash the competition.

Even if at times the album can be quite esoteric despite its pop veneer, there is a purity of expression that is addictive.

They’ve managed to balance brutality with a controlled ambience that takes nothing away from their distinctive character.

Pursuit of Momentary Happiness manages to harness even more of the band’s unpredictable live energy while careering between boggle-eyed riffy bangers and booze-sodden self-reflection in truly inimitable fashion.

It’s a record bound in frustration and release, exacerbated by the band’s continuing reliance on repetition, and as it comes to roost with the tense ‘Bite Mark’ and its tumbling conclusion TRAAMS’ return shows itself to be one that’s all the better for its slow build.

Surfing Strange has the band gliding over waves at record height, with barely a single hiccup.

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.

If there was a sense that Natasha had perhaps lost her way slightly on the conceptual likes of ‘The Bride’ and ‘Lost Girls’, she finds her feet again magnificently here, with simplicity key; the lyrics, the melodies, the gorgeous intertwining of piano and synth.

She’s not quite there yet, but after a wobble that could have sunk lesser personalities, she’s found a sound that feels authentic again. And that’ll do for now.

The beats may occasionally be interchangeable, but several cuts stand out, such as the minimal speaker-blower ‘SKED’ and the menacing ‘Hit The Floor’. Each track features a guest spot, which helps provide their sometimes homogenous nature with personality.

Mouse On Mars are returning in triumphant and rapturous fashion, both sealing their reputation as relentless innovators while basking in the glory as beacons of inspiration.

Sees The Light is a decent solo effort, but for the casual observer it might be worth saving your currency for the next Vivian Girls record.

This isn’t necessarily an album that contains multitudes, but therein lies its pure escapist charm.

While he proves in spades that he’s not merely a throwback artist who has to rely on nostalgia, the mishmash of sounds coming from the album does feel a little muddled at times.

It would be difficult for any band to return with new music after 35 years of absence but with Citizen Zombie the always challenging Pop Group have succeeded in returning with something vibrant, urgent and necessary.

More than anything though this is a record which feels warmed by summer sun, reminiscent of misty sunsets to blistering mid-mornings it listens like an album made by a band from California rather than New York.

An album that’s unlikely to make too much of a dent on the band’s epic career this far, ‘Your Favourite Toy’ is a lot of fun all the same.

They've crafted an album that's endearing and inspiring, even if its genesis was the complete contrary.