With each track melting into each other, LUMP feels like a self-contained trip, giving no hints as to the future of the project outside this release, but holding plenty of wonder inside.

It’s smart and knowing, flitting between perspectives with ease. Barely a year after his last, Josh Tillman makes this shit look easy.

Celebratory, rich and more confident than ever before, they’re yet again the finest versions of themselves.

Fans of ‘Complete Surrender’’s sonic diversity, too, might find ‘Now That I’m a River’ similarly one-note to ‘One Day All of This Won’t Matter Any More’. It’s a better record, though, primarily because Charles sounds genuinely refreshed.

Stepping away from her bandmates, LoveLaws is an even more personal exploration of TT’s affective talents.

Tell Me How You Really Feel is a more mature record, and lyrically the most direct and honest Courtney has been to date.

La Luz play with an enchanting sensitivity. If only their raw knack for rhythm and harmony were left untouched by unnecessarily glossy production.

Cosmic Wink is largely free from inhibition though, documenting the big changes in life over beautiful, sweeping folk. While the album doesn’t hold all the answers, it’s still sure enough in its message to connect and remind you of the important things.

Seven albums in, and with a formula that’s kept its core elements largely the same, it’s largely Beach House by-numbers, but the pair have a gravitational pull that looks like it will never run dry.

It’s all executed with the same kind of effortless charm that’s characterised Malkmus’ entire career.

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

‘You Don’t Walk Away From Love’ is an iconic stomp, ‘Silverlined’ is custom-made for arms-around-shoulders festival singalongs, holding court with the best of the foursome’s anthems, while ‘Magnificent’ showcases Harry’s duality perfectly: at one moment, he’s both primed to take on the world, and doubting his every step.

As far as debuts go, the Sydney trio have made a solid first step here. They’ve got half the job worked out in spades. Now, they just need to work on making it memorable.

If straying always leads to things as great as this, Iceage should continue veering from the path.

While he proves in spades that he’s not merely a throwback artist who has to rely on nostalgia, the mishmash of sounds coming from the album does feel a little muddled at times.

As a trip of just over an hour, Singularity is varied and consistently compelling.

Gaz’s third solo offering continues to find him moving into his next phase with real class.

As on her previous albums, what makes Eleanor’s songwriting feel magical are the stories she tells and the tiny details she drops in.

An album that only even begins to click after about the tenth listen, Arctic Monkeys’ sixth is the kind of eyebrow-raising curveball that could still yet lead to brilliance.

The overbearing problem with Isaac Gracie is just how Isaac Gracie-centric it is.

While it can be an emotionally turbulent listen that continually returns to the fracturing of the self and the breaking apart from others, this is also an album that is deeply arresting and vital, a reminder that these ruptures are a part of the rocky terrain of life.

Bringing together two parallel creative paths, the result is an irresistible tautness that shapes their entire first full-length, angular lines competing with Trilling’s diary scribble writing; her vulnerable admissions bolstered by a serious punch.

There are some meandering points on Caer, but Lewis Jr.’s sobering narrative on piano finale ‘Runaway’ ends things on a poignant high-note.

Megaplex is a bright and breezy romp that’s impossible not to smile and tap along to. And even when the breezy nature of some tracks is taken so far as to on the ephemeral, you can almost guarantee that what follows will pack enough of a punch so as to make up for it.

The result is a sharpening of Speedy Ortiz’s axe to grind. Succinct, wry, and in tune with its context, there’s plenty to unpick, here.

Taking stock of the dizzying array of touchstones on this record, this also the sound of an auteur hellbent on short circuiting all convention. ... Dirty Computer might just be the record that finally elevates her to pop’s highest echelons

The beauty in Drinks is that there’s nothing else too close to their sound. With moments of sheer chaotic genius married with brilliant songwriting, Hippo Lite offers something new on every listen.

It doesn’t always quite hit those high notes, but the pair have set out to create a sometimes elusive feeling of connection. Its sheer scope alone means there’s likely to be something here that will undoubtedly resonate.