At times it feels far too long.... Yet on the whole it remains impressively cohesive, and perhaps more importantly (and surprisingly) never feels like they're going through the motions.

A record that plays like an unwieldy and unravelling ode to all the twists and turns of Brockhampton’s journey.

In close proximity of each other, ‘Call It What You Want’, ‘Perfect’ and ‘Onwards And Upwards’ are a little too timid, each simply brushing against each other with no discernible difference. These are only minor concerns when everything else is as captivating as they are.

Tender New Signs may be an exhausting listen but it is definitely a rewarding one.

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

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

For the most part, the record is a heady trip that prances around greatness but settles for pretty good.

Strange Pleasures is an album of cinematic charm and where, with the weight lifted off his shoulders, Hughes has created a journey along a dark motorway that adds light and colour to stand out from the traffic.

Nothing quite comes close to ‘Cars In Space’ for desk-slapping earwormery, but with three singer-guitarists at play, the music chops and weaves with an impressive intricacy, always stopping itself short of self-indulgence. If you’re looking for a modern, uplifting celebration of all things riff, these boys have got your back.

But for all the moments that tend towards fun-but-silly ‘70s musical theatre, there are plenty that, in isolation, ring with the kind of sepia-soaked sweetness that most genuinely don’t make anymore. The Lemon Twigs might not always take themselves seriously, but you’d be remiss to dismiss them as a joke.

While ‘V’ has the tendency to revisit some familiar ground, it achieves what the best double albums do - plants solid gems along the road, envelops the listener with clever sequencing tricks and builds a whole world to roam.

It’s the same melodies and patterns as the group have long favoured, but even the potentially cringeworthy ‘Screens’ (a song about, of course, how we’re all glued to them) barely raises a shrug when surrounded by such luscious, bombastic sounds. By focusing on minutiae, too, what is ostensibly a lockdown album (hello, reference to Zoom interviews) avoids cliche.

It doesn't try too hard to be cool or rock climb your intellect but makes you smile, dance and sing away to yourself in places you shouldn't.

It’s definitely a progression from her last album into a more profound and polished sound.

A People’s History of Gauche captures both the rotten societal traits and inspiring persistence that is often associated with people on the ground.

The liberal use of string sections throughout do teeter on the brink of out-and-out cheese but Cowley's trio have enough class and, dare I say, verve to pull through.

While it does see Faye and her band at their most musically warm and open - nearly every track is a devastating beauty - lyrically she feels more closed off than ever before.

Tales From Terra Firma offers a richer, fuller sound than the debut album and some tracks are tinged with an ever-so-gentle coating of sobriety and growing maturity but the important components of melody and subtlety are relatively unchanged.

Channeling everyone from Talking Heads to ESG, BODEGA remain as giddy and funked-up as ever. And on this highly danceable new addition they barely make a mis-step.

With Liam’s solo career on a high, it’ll be interesting to see where more experimentation leads him next - although somewhat of a mixed bag here, it’s thrilling to see him stray from the formula he knows too well.

There is a real sense of Smith genuinely expressing himself through the number of strutting guitar solos and melodic flourishes

Lauv’s second record certainly provides an array of sweet pop highs, but still doesn’t quite show us who the writer behind it all really is.

An intriguing side project that adds to the pair’s already storied careers.

The album proves to be a glacial melt of shimmering beauty, asking for attention and rewarding it with a kind of zen.

As an introduction to the man and a myth he’s already constructing it’s a very enticing and exciting one, if there’s more to come at this level from him true classics await.

Adam’s still the pied piper of indie, with a skip in his step and charm for days.

Electronic and acoustic elements blend cohesively together in a testament to BANKS’ practised skill, even if she hasn’t stepped too far from her established sound.

For the rest of us, Natasha’s first real pop effort since ‘Fur and Gold’ is an impressively lean and infectiously hook-laden romp; doomy disco for dark times.