That is a mere side note, however, for Interplay is a consistently strong piece of work, as good as anything Foxx ever wrote when striking out on his own in the early 1980s.

awE naturalE gives us a beguiling glimpse of an unfettered talent that most certainly is promptly, and most satisfactorily, on track.

Half-baked lyrics detract from intelligent and well-executed backing, and as such the album fails to resonate with any of the force that it attempts to muster, despite the odd successful moment.

As the ever revolving wheel of influence spins to bring each individual ingredient to the fore, The Computers are not afraid to wear these influences unashamedly on their sleeves and in doing so have managed to produce a highly infectious piece of rock ‘n’ roll.

As two stuck-together EPs, then, perhaps the set might be taken better as a promising if flawed articulation of a vision yet to fully flower.

Gallon Drunk are now eight albums in to their storied career, and their strain of narcotic rock is getting more and more potent with age.

Museum Of Love lacks a big, standout track that’s likely to attract the attention of anyone not already smitten by the band’s affiliated acts. But it’s still a very good record that succeeds at being alternately funky and affecting.

In The Seams sees her settle down into a recognisable sound--a more minimal, stripped down approach than previously for sure, but one that accentuates her voice perfectly.

The album sounds like what it is, then: a spur-of-the-moment, vinyl-only release, written and recorded for simplicity and speed. On these terms, it succeeds.

A collection of songs that successfully articulates Khouri’s musical identity.

It’s thoughtful, intelligent and considered music that’s not afraid of having a sense of humour.

Ultimately, the whole album is a triumph of collaboration and should be seen as a celebration of the artistic vision of Rob Marshall. There’s not a misstep on a single track, and there’s a depth here that rewards repeated listens.

Simple Minds, then, are in extremely rude health. Where once their lyrics spoke of international politics and far-off destinations, now they deal with matters closer to home in a refreshingly direct manner. More power to their maturing elbows.

This is the best Warmduscher album, and arguably the best album produced by anyone from the Fat Whites stable since 2017’s The Moonlandingz debut.

Towards the end, it does seem to run out of steam a little bit (although only really Sunshine Song seems to be filler) but overall this is a remarkably accomplished debut that, excitingly, hints at even better to come.

Whitelands has created an immersive work that explores complex human experiences and proves that it is possible to come through challenges and grow from them. That they can do so whilst sounding so positive is testament to the band’s approach to even the harshest of life’s pitfalls.

Generally, there’s a rather cosy feel to Elastic Days--you can imagine the gorgeous stroll of the title track keeping you company through the long winter months, and although some may bemoan the lack of variety on display through the album, it’s hard to deny that it makes for a very pleasant 41 minutes.

On the whole, the double-album is an impressive and engaging aural expedition.

In many respects, the intent behind Along The Way is admirable indeed. Many plus points, then; even if just some variation wouldn’t have gone amiss. Much like Emeralds’ back catalogue.

Although not earth shattering, it's all of a high standard with no real nadirs.

This is real music, about real people, dealing in real emotion. That it sounds so gorgeously lush too is mere icing on a very rich cake.

It’s never an easy listen, sure, but there’s method to the madness.

Actually You Can probably isn’t the best album to introduce the uninitiated to the delights of Deerhoof. By now, you very much know what you’re getting with them, and Actually You Can is another example of why they have such a strong cult following.

Cover albums can be forgettable and throwaway, but not this one. This is a truly memorable and worthwhile tribute to the quiet Beatle.

It won't be to everyone's tastes and it's clear with a name like theirs they won't be appearing on Fearne Cotton's playlist anytime soon, but there's an energy and vitality to Latin that's impossible to deny.

The Cribs have always been a cut above their Yorkshire contemporaries, and Ignore The Ignorant demonstrates exactly why.

The result is not, unlike many of his peers, a symphony of interlinking tracks, but a collection of individuals that, together, tell a unified story of emotion.

Musically, it’s more ambitious and further reaching than any of Brun’s previous records.

There are some interesting topics explored, such as Darkest Place's prayer to a God that he now longer believes in, but compared to Plan B's gritty early raps about teenage life, it pales somewhat in comparison.

The album is solid from start to finish

Such is Tunng's appeal, the ability to do the unexpected but also to make you smile with their lyrical vignettes and musical slights of hand.

Intriguer will have to stand or fall on its own merits. If there is any justice in the world it will be a bestseller.

Most of these tracks would probably count as mid-tempo throbbers, and this aesthetic cloys a bit by the end of the record. In the same interview he also joked that this release exists because he “owes the label an album”, and this is evident in the filler that pads out an EP’s worth of good tracks.

Six albums in and Everything Everything continue to find new ways of developing their art, and yet the feeling remains they still have an enormous amount of potential to fulfil. Raw Data Feel, one of their very best achievements, gives a strong indication they are getting there.

The album is certainly easy to listen to but it could do with a bit more of the focus, directness and urgency of the band's EP. Perhaps, then Surf City will get the kudos they are looking for.

Clocking in at around 32 minutes, this is an album that tells the story of a 20 year journey in a staggeringly short amount of time, particularly for Dylan Carlson. It’s rare to request further exposition from this artist, but maybe it’s just the desire to bask in these wonderful tones and layers which mean that, as Reaching The Gulf reaches its conclusion, more is definitely required.

It’s not a world beater of an album by any means, but Auerbach’s ability to continue to branch out into things other than what he’s expected to produce can only be admired.

The New Abnormal lacks the electronic edge of Angles, it has little of slapdash power pop of their debut, and it certainly doesn’t take as many risks as their third (much underrated) record First Impressions Of Earth. There are shades of the old power on Brooklyn Bridge To Chorus, the best song on the record – but don’t ask yourself how it compares to, say, Car Seat Headrest.

The Physical World is a tremendous, rollicking, riotous blast of an album.

Whether or not it’s enough to push Stables into a more prominent place, however, remains to be seen, but surely a wider acknowledgement of her prowess can’t be far away.

It’s maybe not something to play every day, but an ideal companion piece for when you’re feeling more contemplative than usual.

It may not be there with their best work, and it might be seen by some as a bit of a stopgap, but there are still times on Thrashing Thru The Passion that The Hold Steady can effortlessly remind us that they remain the ‘best bar band in the world’.

Weezer have made one of their most catchy and insightful records to date.

There’s a definite ambiguity in these songs that means that it is possible to find both the beauty and the beast depending upon how they are approached.

Kanye being Kanye, there are occasional moments of quirky craftsmanship scattered around. The mood perks up substantially when the rhythms take centre stage.

There are still more than enough highlights on Hotspot to make the record worthwhile, and when they put their mind to it Tennant and Lowe’s wordsmithery is still as sharp as ever.

Stronger With Each Tear, as with most R&B albums, attempts to cover all bases and as such feels a little all over the place. Thankfully, there's enough here to cover the cracks that appear when she's taken out of her comfort zone, which, as much as it shows diversity, seems an odd place to want to leave when the results are often so spectacular.

You might feel like you’ve heard it all before, and you probably have, but it’ll still rock.

This is deeply satisfying and enjoyable--perfect for those who prefer their summer soundtrack to have a bit of firepower.

While Slow Summits might not set your pulse racing it’s a fantastic example of a band throwing themselves into making a record as lush and pretty as they possibly can.

Generationals are far from the only band making chirpy, world-influenced indie-pop at the moment--but it has so much genuine charm, so expertly executed, that it’s impossible not to fall for.

Noveller is music not only for the open-minded, but for the inquisitive. It’s a joyous, enthralling sound that she makes, and it seems to be getting more enticing with each release.

It may not be quite up there with the band’s classic ’90s releases, but there’s enough quality on display to reassess Dando’s ‘poster boy of grunge turned heroin casualty’ reputation.

There may not be enough to lift them above the rather crowded market of similar sounding contemporaries on Weird Sister, but it does hint at a solid enough future.

Scott hasn’t quite broken out of cult stardom like Mitski has, but there’s no reason to think What An Enormous Room couldn’t be the album that introduces her to a whole new audience.

This is a finely crafted homage to the late ’60s sound. Maybe sometime in the future Delt will really mess with the template, but for now, the devil (and the authenticity) is in the detail.

Pay The Devil is for Van Morrison completists only.

Koushik has produced that rare thing, an album with which to relax while admiring its musical content.

These are songs that might sound delicate and fleeting, but are in they fact multi-layered and carefully created although admittedly they are at times almost dreamlike.

Love Your Dum And Mad is certainly not an easy listen and demands close attention. But give yourself over to the close, fascinating world Shah inhabits and you will be utterly enthralled.

At times, Spectre does feel very much like a serious album, but the tone occasionally seems inconsistent.

In Furneaux, a travelogue split into two durational phases, is explicitly built around archival sound recordings accrued from across the globe over a 10-year period, and emerges as a ferocious and often anarchic statement of intent from the noise composer.

Living With Ghosts is an album that demands intense focus and attention.

Monument is another addition to what’s becoming one of the most quietly consistent back catalogues in UK instrumental music, and proof that while others may begin to run out of ideas at this stage of their careers, Portico Quartet are sounding as fresh as ever.

The album is DJ-friendly, resulting in several lengthy tracks, and while this is no bad thing in itself some of these are also rather uninspired.

Walking a fine line between being leftfield and hook-laden, Jaga Jazzist have delivered another selection of epic, psychedelic sojourns through electronics, brass and beats that consistently engage and excite.

Social Cues is Cage The Elephant’s darkest and most personal album yet.

The Aussie portion of the band bring a ray of sunshine that will soundtrack your summer, but its sharp lyrics and occasional down-beat moments mean it's not sickly sweet. Expect them to grab the indie-pop baton and run with it.

Given its very nature, this is an album that is more suggestive than it is demonstrative, with attuned, nuanced performances creating a range of colours and sensations.

This is undoubtedly Liars’ most engaging work, and certainly the best Mute album since, well, WIXIW.

It may tread familiar territory but that’s fine--this far into the game, they’re hardly going to deliver their jazz odyssey.

It’s an album where time invested is rewarded, a cohesive collection where all constituent parts interlock in satisfying style.

Burton's Rome is a fascinating re-envisioning of romance and danger. It has all the components of a classic and makes for the perfect soundtrack to inject something wonderful into a dull day. Richly rewarding.

Flawed as it may be at times, Froot emerges as Diamandis’ strongest album to date, mainly because it’s the first one that strongly stamps her own personality on proceedings.

Long.Live.A$AP is unlikely to win over the doubters, but it will consolidate A$AP Rocky’s status as an exciting talent.

At a time when mainstream house music is becoming more connected with both its past and the underground scene, ‘alternative’ interpretations like this are quickly becoming stale, and Articulation too often sounds as if it’s merely going through the motions.

Never content to hinge on traditional modalities, this surprisingly resilient and provocative collection reveals how Allen and friends triumphed against social barbarism and cosmopolitan functionality. As the title succinctly attests, there was seemingly no end to the late musician’s skill, and thankfully no end to the legacy he created for others to benefit from.

Fans of airy independent music are sure to welcome this disc with open arms, but a few minor quibbles mean that the rest of us might want to hold back for more until the red carpet is rolled out.

It may be unpalatable and difficult but it is a debut album that should at least be commended for its dark, experimental ambition.

Without boundaries but with form, experimental and noisy but always totally listenable, III is one hell of a record. Psychedelic, maybe. Fantastic, most definitely.

Big Music sees them come out fighting with their best album in decades. Rather than appearing musically tired or bereft of ideas, they have real stomach for the fight, a resilience that looks set to see their star continue to shine.

Pay no attention to the hype--after all, it didn't do Vampire Weekend any harm--and sit back and listen to one of the most purely enjoyable albums of this year.

Quite what has held back the milieu of meandering morons that make up the music scenes mid range, mid class, middlemen is probably this intelligent and creative leap; crossing genres and keeping your opus open and fresh.

Tracks such as the title song and She Lays Down are redundant, bringing down what is otherwise a brave and eclectic comeback from The 1975, one that is sure to divide opinion once again.

Far more nuanced and textured than its two predecessors, it sounds all the better for it.

Calling on a series of well worn rock staples, King Tuff is a fine album that pushes no boundaries, but is quite content to get the party started.

Alive After Death is a record interesting enough to satisfy those with a taste for the transgressively predictable, as long as you don’t scrutinise it too much.

It's a hugely enjoyable record, with songs on it as good as anything the individuals involved have produced elsewhere. It's simply that high standards achieved elsewhere aren't consistently obtained throughout.

An album which is both fascinating and hard to listen to at times. Gag Order may not go down as Kesha’s best album, but it’s certainly the album that she has to make at this present time.

As a vocalist, she continues to command attention.

There are occasional moments of brilliance to be found of Flash Flood, often within the carefully crafted melodies of Enter Shikari's choruses, but all too often their lyrical angles and their almost pathological need to force genres together make for an uneven album.

Despite its flaws, it’s still an album that contains some of Dacus’ best work to date, even if the record itself is not her strongest. If you’re having withdrawal symptoms while waiting for the inevitable second Boygenius album, Forever Is A Feeling should sate you somewhat.

Romance Is Boring is a triumph, a glistening, breathless success. Musically and lyrically Los Campesions! are a rare treasure of a band at the peak of their considerable powers.

It remains an awfully good first effort, and the boys clearly have some exciting ideas - not enough to fill the entire disc, but exciting nonetheless.

JT has again done a fine job here. The 20/20 Experience shows the pop album isn’t dead.

As a whole, this EP is not a disaster by any means, and as such it's perhaps an exaggeration to call it a disappointment. But for those familiar with a body of work that's to date shown an impressively high quality control there's cause for concern.

An album that finds Wire once again proving that they’re still one of the most inventive and exciting bands around.

Kurr's claustrophobic sound causes a restless reaction. For all its fragile beauty, it's at its best in small chunks.