While Life Among the Savages lacks the absolute highs of Quever’s previous work, it also lacks any lows, except for possibly the abrupt ending which leaves you longing for more.

At its heaviest, ‘TEXIS’ is blistering, ‘Justine Go Genesis’ as mind-bendingly intense as it gets, with closer ‘Hummingbird Bomb’ and single ‘Locust Laced’ not far behind. And when synths do take centre stage, no impact is lost: ‘True Seekers’ and ‘I’m Not Down’ are akin to a more in-your-face Chvrches, Alexis’ vocal sitting juxtaposed with expansive electronics. It’s the best of both worlds.

A more pure and intense sound, less manufactured and acutely heartfelt.

An ambitious double album filled with reverb and distortion this it not, but if a new, playful kind of Biffy Clyro take your fancy, there’s more than enough of Ellipsis to dive headfirst into.

It’s reassuring to note that, now five albums in, Tunng continue to distill and refine their sound, honing their craft to create their most accomplished album yet.

Everything feels less claustrophobic than on ‘Control’ as synths soar, rather than constrict. Beats bounce and guitars are led by the groove. Throughout ‘YU’, we see a grander side of her.

It’s clear that these songs have a real and sincere heart, designed to both stir and soothe the soul in one fell swoop.

Delicate, enchanting, and altogether intangible, Memory Of A Cut Off Head is a venture into the unexpected.

Excess and saturation can only get a band so far without a knowing wink to match, and at the moment, it’s that mischievous streak of personality that feels slightly absent.

There’s little doubt that she’s not finished yet--We Slept At Last gives hints of an artist who could go on for decades, so long as she continues to transport everyday souls into different worlds.

Far from the fools of their name, Dumb are onto something pretty magnetic.

For now, it’s hard to know whether ‘…Pt. 1’ is indicative of the overall direction of ‘Fever Dreams’, or merely one facet of it. Either way, it’s the polished sound of Johnny Marr putting his best foot forward.

‘Book of Churches’ is a debut effort rich with promise.

Closer ‘Cyboogie’, the cheesy, sci-fi-inspired lead single from the LP, is by far the most tepid of the set, as if marking the roll of the end-credits and a collective sigh of relief. With that being said, do not doubt that King Gizzard and the Lizard Wizard still know how to kick ass.

St. Catherine is a quasi-nostalgic LP that’s sonically soothing, while exhibiting finely-woven musical textures. It’s clever, without being intimidating or pretentious.

Buoyed by newfound feelings of hope and of anticipation, the record feels more encompassing than anything the band have released previously. This is a result of a more direct and collaborative effort, with producer Danny Reisch adding extra layers of synth and percussion to really flesh things out.

Though Weather Diaries is a solid effort from a band trying to balance their mastery of shoegaze with other, outside elements, the strongest tracks on Weather Diaries are when the band fully embrace the skeleton of the songwriting formula they’d perfected over two decades ago.

Their formula is tastefully broken up by frantic drums on ‘CRACK METAL’, unsettling synths on ‘HATEFUL’ and the twisted pop of ‘ASHAMED’ that soars with the most memorable chorus on the record. Unfortunately, that chorus is an outlier on an album that can wash past with as much staying power as candyfloss in a puddle.

Overall the album is never really present enough to make an impression, beyond a hazy silhouette in the distance.

Nature Noir' is very much Crystal Stilts sticking to their well-trodden formula, conforming as they are, essentially, to their own trademark sounds. But it's also the sound of a band retaining the best of their identity: sharp melodies, steady drum fills and discordant synth still all underpin Brad's sleepy, monotonic vocals.

It dishes out moments of pure brilliance and moments of pure laziness in equal part, which is possibly the result of Blumberg being left to his own devices a little too much.

It’s immensely enjoyable, but almost leaves a sense of guilt, because of how light-hearted it makes an attitude bordering on misanthropy seem.

1982 appears slight on first glance, but it’s packed with so many lasting melodies and shifts in tone and dynamics that it winds up being a much richer project than its 38-minute run time may initially suggest.

Daniel’s latest project is easily his most mature work. It might also be his best.

With such a joyous energy across the record, it’s easy to get lost in its layers.

The album blossoms when his delivery matches the tone of the music.

A lot of the record shows a lack of streamlining, or a singular focus. If album four sees San Fermin filtering through the bucketloads of promise on show here, there’s something really special on the horizon.

Lo Moon is a daring and complex debut album scored through with emotional tumult and a nuanced understanding of the groups that have inspired them.