Father Of The Bride is a joyous, fearless listen that builds on Vampire Weekend’s steeped history while simultaneously paying less attention to it than ever.

Much here sounds as though it could have been unearthed from the treasure trove of old demos the singer sporadically unloaded circa 2004; great for the die-hards, fairly inconsequential for everyone else.

Overall, and perhaps importantly, it mostly sounds like something to sing along to, rather than the soundtrack to your next existential crisis.

One of his strongest bodies of work to date. It’s a richly textured piece of work which sees him expertly display his ability to make listeners find intimacy in vast soundscapes.

On their sixth LP, unpredictable Californians Foxygen are less up for a bop than an attempt at settling some scores.

Despite what the album’s plain, monochromatic cover art might suggest, this is a warm, textured collection of songs that breathes life at every corner. A real triumph.

Local Natives deliver a tale of affection deeply rooted in the realism of love, not just in romance but in life.

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.

The band’s strongest assets - three fantastic vocalists in Rebecca Hawley, Emily Lansley and Lucy Mercer, and a focus on tight bass-and-drum grooves - are ever present, but there’s enough sugar in ‘Big Wows’ to make even the sweetest tooth ache.

The music is genuinely rich, and creates a strong nostalgia for a musical era gone by.

Across twelve polished tracks, Jade switches from piano ballad to stomping singalong and back again, full of bold choruses and raw, ricocheting vocals.

It doesn’t quite match the intensity and impact of his debut.

‘Social Cues’ is a study in US radio - or so it seems, each song a suitable soundtrack to faceless car journeys along nondescript roads: think Imagine Dragons in leather jackets and ripped jeans, if you will.

Power and self-confidence run through the record. ... It also manages to veer away from feeling gimmicky, Lizzo’s vibrant personality and humour shining through a set of tracks that switches through elements of funk, pop and R&B with ease.

Both what you’d want and expect from a Chemical Brothers album, as well as a whole lot more on top, it pushes the duo firmly back to relevance.

It’s a charming and defiant debut, and one that encapsulates the GIRLI mindset, heartbreaks and all.

Fontaines DC have crafted a clear, unedited picture of who they are and what they’re made of. It’s a joy to witness.

It’s both over-produced and underwhelming.

On the one hand, Brutalism feels less bloated than any of its predecessors, and a number of sharp production touches ensure that some of its tracks are excellent. ... On the other hand, the album is missing some of The Drums’ lo-fi charm.

The Seduction of Kansas is another evocative and considered album, the band reiterating their ability to present topics with tremendous clarity and depth. Which, given the complexity of their themes, is exactly what most of us are crying out for.

They may be using Morbid Stuff to face their demons head on, but there’s a sense of reckless abandon to the whole thing that makes it entirely freeing.

Titanic Rising presents an immensely elegant journey to a different place and time; in equal parts beautifully delicate and powerful.

Whether trying to find solace in community while battling your deepest demons, or after an uninhibited jig to some of the catchiest indie-pop around, Martha still have your back.

Despite this fervent distancing of themselves from party politics, Dog Whistle is a brutal, impassioned flag-in-the-ground for the disillusioned in New York and beyond.

When We All Fall Asleep, Where Do We Go? is a supremely exciting, innovative first move from a pop voice that feels utterly fresh and modern.

While the maelstrom of noise doesn’t let up at any point (with guitar feedback providing a segue between each song on the album), it is only a veil for the strong songwriting that lurks beneath. An emphatic debut.

With plenty of sweet to balance the sour, this is a record that will resonate with anybody rebuilding themselves in the aftermath of self-doubt, and easily confirms itself as her most honest work yet.

Getting to the end is a slog. Sometimes, maybe you can just be a bit too clever for your own good.