Beneath the familiarity, Tame’s fourth is operating in a subtly different world. Where ‘Currents’ doffed its cap heavily to R&B within its pop smarts, creating his most commercial work yet, ‘The Slow Rush’’s ingredients feel slightly more disparate.

Gone the mangled Nuggets riffs and LSD infected yelps, replaced instead by slide guitars and deranged yee-haws. It shouldn’t really work, but it does.

While stuffing itself with enough insight to force its listeners to acknowledge contemporary issues, also present is enough charm and wit to remind us of the importance to having a little fun along the way.

Whether viewed as empowered statement from a newly-free artist, or simply as a great record from pop’s new princess of darkness, ‘I Disagree’ is in fact, extremely agreeable indeed.

The band have expanded their sound with mixed results.

‘All or Nothing’ is a grand refinement of their previous work, rather than a reinvention. Still retained is that amazing sense of propulsion and momentum the group have made their own; ‘Initiative’ and ‘Body Clock’ are impossibly fast, constantly threatening to overbalance themselves, yet always remaining resolute and gloriously intact.

With ‘West Of Eden’ HMLTD have fought off the suffocating grip of overhype to deliver a debut album that is a cut above the rest, even if it is a little overdue.

It’s all largely inoffensive and wholly listenable. Which is fine, but we’ve come to expect more from La Roux.

Granted, it doesn’t always quite connect, and it probably won’t enter the Green Day canon, but it’s a bit of fun all the same.

Patrick is found confronting familiar ideas of inner contentment alongside upbeat surface shine on this bittersweet work - full of charm and integrity

‘Sorry For The Late Reply’ is an album that’s taken the playful spark of their debut and refined it into a bolder beast.

It’s all effortlessly pulled together by Frances’ distinctive and enthralling vocals.

There’s a real sense of space, Squirrel Flower already showing herself to be an artist comfortable in her own skin. They aren’t all hushed ballads though, the instrumentation even verges on grungy at times, but make no mistake, there’s an absolute flow here. An accomplished first full-length.

‘Feel Life’ and ‘Steady’ resolve this darkness, both euphoric and knowing - and beautiful sonically - while ‘Blood Moon’ addresses feeling disappointed in yourself, and what you need to do to push through and make things right. ‘When We Stay Alive’ is emotionally raw, elegantly presented and at many parts a real tear-jerker. Wonderful stuff.

Overall, ’High Road’ is an overwhelmingly triumphant pop offering that sees Kesha back at her best and having shit tons of fun while doing it.

Re-emerging with off the grid mystique, Torres retains the grit of past efforts while doubling down on off-kilter charisma, securing a slick slice of alt-pop; her most complete and consistent yet.

His outlook on the world is no happier than it was before, but the lack of a bigger band brings out a fresher sound in the Destroyer canon. It loses some energy in that regard, especially compared to the magnificent ‘Kaputt’, but it does show that, with 13 albums under his belt, Bejar still has plenty to say and even more fantastical ways to say it.

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

While never the strongest lyricist, ‘Power’ sees vocalist/guitarist Sam McTrusty roll out an unending series of lines that are overt to the point of self-suffocation. ... ‘Messiah’ and closer ‘Praise Me’ are stronger cuts, though as with much of ‘Power’, they’re unfortunately lost amongst the plethora of untidy songwriting on show.

Wire have proven that it’s possible to stretch possibilities through the introduction of outside influence. Youngsters take note, the past can be your friend.

Gone are the house influences that underpinned his 2016 debut, and in are scratchy demo-sounding guitars, crisp production and gorgeous flourishes of string arrangements. House still lives on in some of the beat arrangements, although it’s presented through more natural-sounding drums which, when stacked against the lo-fi instrumentals, births something fresh and inspired.

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

Deleter successfully blurs boundaries between time and space while gifting the listener with the unexpected opportunity for a total sonic catharsis.

‘Children of the Sky’ and ‘Gravity’ both prove that its possible for the duo to summon up genuine atmosphere without bogging down the songs with overcooked compositions. There’s still the odd experimental misstep - the meandering ‘Eyes of the Overworld’ in particular - but for the most part, ‘X…’ is endearingly light on its feet in a manner that suggests a real rejuvenation in Conrad and Jason’s creative partnership.

A very subtle progression from what has come before, it remains to be seen whether 2020-era BBC will capture the hearts and minds of a new generation. But for those who’ve held on in hope of their return, the rewards are fruitful.

Aside from a few great moments like the warm and accessible track ‘Beyond That Of Courtesy’, this listen does feel slightly hard to grasp due to its disjointed nature. There are enough ideas in the tank here, but ultimately it's not one to rush out and buy.

Seeking Thrills sees Georgia lean in much more eagerly on the late-night grooves that have been supporting her breakthrough. ’Started Out’ and ‘About Work The Dancefloor’ make for solid, established openers, but there’s no shortage of other ideas that make complete sense in the soundtrack of modern lives.

Walking Like We Do is expansive lyrically, thematically and sonically, touching on social inequality and frustration with the current political and societal climate.