Louis' new-found confidence oozes from the songs here; it may just be his first steps in the quest to emulate his old rock 'n' roll heroes.

Just Tell Me That You Want Me does suffer from the lack of coherency caused by the inclusion of so many different artists and styles but fortunately, when the subject and the songs are so good, this matters little.

Like all good records, it has its magpie moments too - the Justice / Daft Punk tinged one-two of ‘Celebrate’ and ‘Surround Sound’ especially effective in the current climate--but fundamentally Ice On The Dune is the definitive Empire Of The Sun album.

The first five tracks all clock in at under 2-and-a-half minutes and are almost all punchy, ferocious and crunchy. It’s bold and uncompromising, but often buries the singer-songwriter’s voice both literally and metaphorically in an overbearing soundscape. ... The record’s second half sees Indigo let loose, switching up her formula: songs are longer, more expansive, and it’s all the better for it.

The arrangements here are certainly accomplished, but it's still that voice which makes the whole thing glow.

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

Small Mercies is not a complete success, but Pixx’s creative voice remains unique.

This posthumous self-titled release feels more commemorative than conclusive. It’s a welcome celebration; an answerphone message revisited. It’s no ‘OIL…’, but it’s pure SOPHIE.

The curiously evocative and often soaring vocal of original ‘modern woman’, Sophie Harris, there may be a slight hint of knowingly tapping into the full breadth of their creative gamut across the record, but in delivery it suggests more a case of never wanting to tie themselves – or the album as a whole – down.

A record that barely takes its foot off the gas pedal. This onslaught would make even the most hardcore listener flinch. Bring earplugs.

This is not quite Modest Mouse at their best, but they’re not a million miles away from it, either.

There’s also the disappointing ‘Sinking Kind Of Feeling’ and opener ‘Other Side’, the latter’s slow build at odds with the overall tone of the record. Still, it’s a great stride forwards with some tracks that’ll likely go down as some of the band’s best.

Tempering the unfettered experimentation of their last outing, 2022’s ‘Tableau’ (where tracks clocked in anywhere between 50 seconds and eight minutes), ‘Only You Left’ does indeed emerge as a more structured project, roughly bound by a central polarity of “wood versus metal”.

You can't help have a smile on your face when you listen to the excellent harmonious vocals of 'Sore Tummy', featuring Alice Costelloe, or the hilarious lyrics of the riff-tastic 'Pony'.

Pere Ubu's first studio recording in three years is a suitably abstruse, challenging and dense record, and yet another example of how Pere Ubu remain at the very peak of experimental avant rock.

To some Goldheart Assembly will stand as a fine example of musical romance, but others might not enjoy the beta endearment that washes over the record, and find it dry, maybe even a little dull.

There’s still a little greenness here and there – the Royal Blood-esque ‘Summer Of The Shark’ lacks a little individuality, for example – but in the position that DITZ have put themselves in, there are a lot of places for them to push the boat.

While his lyricism is filled with youthful nostalgia, his sound here is more mature than ever. Introducing an auto harp, his soundscapes are filled with a toned-down joie de vivre which makes the album stand out with its lucid simplicity.

The record’s most straightforward track, the Doja-Cat-esque ‘On The Low’, which highlights how modern hyperpop-trap is, at its best, Rico Nasty-indebted; or the artsy punk of ‘Crash’, which feels like a sibling to present-day 070 Shake alt-pop. ‘LETHAL’, firmly reasserting the Rico Nasty legacy, is an alluring feat for the US rapper that feels just as trendy as it is against the grain.

Complex, and replete with glitches, slow beats and breakdowns, In A Dim Light is as captivating as 'Condors', yet with an evident sense of renewed direction and focused calm and quietude.

A typically playful, often infectious pop record.

This is as tropical and kaleidoscopic as Friendly Fires have ever been. It’s akin to gobbling an entire pack of Fruit Pastilles; colourful, maybe a little sickly, but you sure as hell want to experience it again.

While ‘Reflection Of Youth’ delved into intimate soul searching and destructive introspection, ‘Speak’ casts a macroscopic lens on the human experience, delicately documenting Anna’s rising confidence and newfound acceptance in her sense of self.

For some, the poise and polish of ‘Quicksand Heart’ may be cause for slight lament - the unabashed weirdness of Let’s Eat Grandma was central to their offbeat charm, after all. But as an exercise in self-actualisation, Jenny On Holiday’s solo debut is indeed a revitalising break.

It’s more confident, a little sexier. It also finds the outfit playing mostly the same old tricks as last time, for mixed results.

It’s not all change though, there is still a sense of continuity.

It’s very much designed in their own image - as debuts go, this is an impressive mission statement.

yeule’s willingness to play with sonic landscape and sci-fi dystopia means their version of emo is more infectiously haunting than the blueprint.