‘As Long As You Are’ is a steady-as-she-goes sort of affair - a solid effort from the four-piece that would fare better with a little more exploration.

The beauty in Drinks is that there’s nothing else too close to their sound. With moments of sheer chaotic genius married with brilliant songwriting, Hippo Lite offers something new on every listen.

This is not a perfectly crafted album; instead, it’s an incredibly human one.

Los Niños Sin Miedo is a richly enjoyable exploration of the weird and wonderful, and a big two fingers up to all those who ever doubted them.

Full of lilting indie-pop, often swelling with trumpets, string sections and a sense of wistfulness, European Heartbreak sounds nostalgic for a dream, the realisation of which has long since passed.

Sensitive to a whole host of influences old and new, ‘Everyday Nothing’ is a confident, cohesive and finely-honed debut.

Not to Disappear is intentionally difficult to stomach. It finds a dark pit to nestle in and then digs deeper. But few acts could deliver these unceasingly grim details with such majesty.

[Shut Down the Streets is] a truly mature and well-rounded work, with a complete lack of pretension, and a lot of warmth and heart.

This is by no means a ripping up of the rule book for Jade, but from this side-step where she’s going next could be anyone’s guess.

Ten tracks of orgasm-loving, empowering anthems, that pack a punch musically as well as lyrically, what’s not to love?

'Between The Times & Tides' is a beacon of craftsmanship and invention coated in [a] marvellously empathetic collection of pop tunes.

Their fourth studio album simultaneously searches for hope as it candidly condemns their surroundings. ‘Self Worth’ looks to find just that, violently expelling all that is wrong to settle on inner peace. That anger is palpable, from the jarring opening of ‘Stay There’ to the minimalist bass and accompanying cries of ‘Apathy’.

It’s a confident release from a seasoned band still harbouring the energies of youth. Somewhat paradoxically however, it’s also a considered record, one that muses on the transient and a reminder of the importance of being able to appreciate what we’ve got, while we’ve got it.

Sure, single ‘Shockwave’ and ‘Be Still’ plod slightly, but Liam’s second is a whole lot more sentimental. ... Elsewhere, love song ‘Halo’ jams like the ‘Stones’ ‘Let’s Spend The Night Together’, the title track hints at later Weller, and - of course - there’s an unmistakeable Beatles-esque guitar solo on ‘Meadow’. All of which are references welcome to anyone who’s stuck around for Liam’s new stuff.

There is one very commendable thing about 'No Gods' that cannot be said of many of the revival bands of the moment though – Sharks seem almost entirely free from pretension; for that reason alone the album will garner respect and stand the test of time with punk fans.

You’ll come across both seemingly self-explanatory clues and more esoteric ones, which taunt you with their mysteries, and you will lose sense of time and reality as you wade through the debris. This album will absolutely floor you if given the chance.

A kaleidoscope of charming sounds.

Even with the twisting and turning of different styles Gallows remain ferocious until the last drop.

There’s enough evidence on Ropewalk that The View’s songwriting senses remain sharp, but the turgid manner in which they’ve served up this group that renders it a disappointment.

Bolder, brighter and better than ever, Waiting A Lifetime is the sound of a band having fun being free.

Whether they’re railing against the establishment or helping us escape, LIFE’s debut provides comfort and support for us all.

A fun, full-of-heart pop record that’s 2018’s first big surprise.

Every single moment of ‘A Situation’ feels dreadfully real and groovy as heck, so prepare yourself mentally - you may start to believe the matrix is real.

There are whispers of similarity to her queer contemporaries, too, from Shura (’Pandora’s Box’) to Years & Years (’Nightingale’), that make this break-up record much more exciting than its conveyor belt competition.

It’s weird and brilliant, and anything but regressive.

He’s decided to take things a little slower, in the process creating his best, and perhaps most coherent, album to date.

It’s comforting like an old blanket. Perhaps a bit itchy in places, but when things get cold it’s just what you need.

Kin is a hypnotic album on its own merit and needs no elaborate campaign to stand out.