A record that feels dynamic and vital - while still respecting the band’s legacy so far - ‘The Million Masks of God’ is astonishing.

Emotionally honest, across its twelve tracks the group detail feelings of longing, losing your sense of self and awaiting something more in a wholly atmospheric manner. Ripping up their rulebook? Hardly. Giving long-time fans something new to enjoy? You bet.

Lyrically precise, and musically enriched with radical keyboard flourishes and arresting song-structures, what is most impressive about ‘Civilisation II’ is how KKB manage to tackle such worldly themes without ever sounding contrived. It’s a testament to a band continuously looking to innovate.

There are playful moments - a self-referential take on Cat Stevens’ ‘Pop Star’, in which the 80-year-old icon declares his showbiz intentions, chief among them - but the album is best when it embraces the singer’s age, experience and stature.

From a band capable of biting social commentaries and intense concept albums about the First World War, this latest, fluffier episode in the Field Music saga is a solid record that does everything you’d ever hope a Field Music album would do.

A decent album, then. Not a great one, but one that can still hold its own against any other indie rock album released this year. There’s life in these old veterans yet.

CLAMM may not be the first group to venture out into the fuzzy Australian wilderness, but with Beseech Me, they’ve shown they might just be the best.

‘Hassan Chop’ is a welcome reprieve towards the end, introducing some of the relentless punk drive of the band at their best, but it does little to revive the rebellious ethos ‘Let The Bad Times Roll’ clearly strives for. Forged from our current volatile climate this may be; an appropriately cutting and volatile response, however, it certainly is not.

‘Music’ is clean listening at its finest. The formula works well but that doesn’t mean the LP is lacking in surprises.

‘Roadrunner…’ sees Brockhampton silencing any of those who feared they might have lost their spark. It’s a record that - if it is truly one of their last - sees the lads going out with a bang.

Sure, with ‘This Is Really Going To Hurt’, Flyte have successfully echoed the sounds of the past, but it’s all about as paper-thin as a yellow-hued Instagram filter.

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

Ultimately, there’s a charming purity that runs through ‘New Long Leg’, and a sense that Dry Cleaning wasn’t the product of a masterplan. Instead it’s the by-product of the lives they were already leading which gives an uncompromising human quality to this debut.

In and out of the studio, Ryley Walker has been one of indie rock’s more colourful characters for a while now; ‘Course in Fable’ only reinforces that view.

La Femme toss so many weird and interesting ideas against the wall, that for every gorgeous moment that sticks, there’s an awkward miss.

Xiu Xiu have recorded a 12th album that is an interesting listen, but rarely an easy one. It’s unlikely to win them any new followers, but existing fans won’t be disappointed.

‘DEACON’ confidently celebrates love in all its spiritual glory, with an unwavering focus on the good. In his sweetest moments, serpentwithfeet’s joy is palpable, paired with an unwavering sensuality that underpins each of the album’s eleven tracks.

Though unlikely to win over those who weren’t already fans, ‘sketchy.’ is a more mature offering than previous Tune-Yards records though still retains much of the tripped-out whimsy that first made them so infectious.

Melancholy, meticulous and achingly grand, it extends his artistic narrative in resplendent form.

At 15 tracks long, he occasionally falters under the weight of his own abundance, but there are so many great sweets in the pick’n’mix bag that you don’t really mind the odd underwhelming chew.

An elegiac, introverted release that feels more like a late-career meditation than the victory lap for "NFR!".

The issue is that, in conflating deliberation with maturity, ‘Today We’re the Greatest’ ends up feeling a little bit middle-of-the-road.

‘Written & Directed’ sees the quartet evolving into the rock outfit they’d always threatened to be.

What ‘Great Spans…’ may lack in coherence, it makes up for with occasional moments of sheer beauty.

Underlining everything is a sense that he’s playing to his musical strengths, both in terms of the way he incorporates so many aspects of his sonic calling card; droll lyricism, field recordings, off-kilter melodies, and a general sense that he’s having the analog and the electronic meet at deliberately awkward junctures - making it all the more impressive when, counterintuitively, the kind of clashes that define ‘Nightmare Scenario’ or ‘Starlight’ actually work strikingly well.

Records like this always sound deceptively simple when done properly; if it were as easy as Adult Mom makes it sound to write pop gems this endearing in their honesty, everybody would be doing it.

Powerful, but in an entirely different way to its predecessor, it’s a record which further proves that the strength of Hayley Williams - as a songwriter, a vocalist, a woman - is still awe-inspiring.

It’s Ghetts’ ability to paint rich scenes and his breadth of unabashed honesty that animates his comeback into a fully-fledged triumph. Although meticulously crafted under Ghetts’ famed perfectionist nature, it’s pure; neither shunning the light or the dark across the 16 tracks. He lets it all show.