There’s a lot of nods and winks to other artists, while Antonoff’s own personality remains hidden. Every track on the album is nicely played and produced, but there’s nothing that really stops you in your tracks.

An album that consolidates and enhances Billie Eilish’s reputation as one of the stellar figures of her generation.

Therapy is a well-balanced record that plays to Anne-Marie’s strengths, complete with glossy production and hooks to keep the avid pop fan humming.

It’s the album that disproves the myth of the ‘Mercury Prize Curse’ and also consolidates Dave’s reputation as one of this country’s most important and impressive young artists.

Halfway through a song like Blouse (think Our House by Crosby, Stills, Nash & Young but resolutely uncatchy) this reviewer begins to yearn for the Clairo that worked with Danny L Harle and Mura Masa, though Sling is an album that at least works on its own terms.

It Won’t Always Be Like This has its moments that suggest something promising is within their reach.

It might be damning with faint praise, but Hotel Surrender would suggest that Murphy is at his best in shallow artistic waters, and ventures further out at his peril.

Their fluctuating randomness trails away from scattered innovation and colourful variances in pitch and tone to become interchangeable noise. Without sufficiently varying their distinctive sound, they still serve a herbal tonic for the senses, even if there’s a decidedly bland aftertaste this time. Still, at least there are some nice vinyl options to put away on the shelf.

Vince Staples is a worthy continuation of his oeuvre, and proof if it were needed that his paradox of youthful energy and world-weary cynicism remains as captivating as ever.

Like many of their peers and contemporaries from Bill Callahan to Superchunk, the thrill with a new Mountain Goats record is just how similar it’ll be to your favourite thing they’ve done in the past. And this is, well, pretty close to your favourite (whatever that may be…).

It’s immensely, moreishly listenable. Gillespie and Beth work well as narrators and protagonists. She spritely and unbowed; he simultaneously vengeful and regretful.

At just eight tracks and clocking in at 40 minutes, Former Things is never in any danger of outstaying its welcome. There’s an argument to be had that some variety could improve the record, as there’s a definite template being stuck to. That’s not necessarily a bad thing though – LoneLady’s third album is the sound of an artist expanding her musical horizons and reaping the rewards.

It continues a run of quality that stretches all the way back to her debut.

It is a special piece of work, reaffirming Avery’s position as one of the most consistent and exciting electronic artists at work today. We need to keep him under close observation.

Home Video is also Dacus’ most immediate, accessible album to date. While the general tone is quite downbeat, but she can switch to crunchy power-pop on tracks like Hot & Heavy and First Time.

On the whole this is a significant artistic leap, a progressive album of dazzling stylistic pluralities that demands attention.

Captivating in all its eccentricities, evocative and groovy in equal measure, with this album Augé well and truly proves himself as an artist in his own right.

Preacher’s Sigh & Potion finds Dear mostly content with spinning his wheels, but luckily his unique style and vocal delivery make it an enjoyable spinning.

Boy From Michigan is not an easy album to get to grips with, nor is it one for background listening. For those willing to put the work in, this is another invigorating missive from one of music’s finest minds.

Pedestrian isn’t going to grab you by the throat or rip up trees, being both pedestrian in name and largely in nature too. But don’t let that put you off; the pace may be rather ‘foot off the gas’ but its subtlety is endearing, as is the vulnerability displayed by Bloom’s vocals.

No alarms, no surprises (unless you count a few surprising moves into bossa nova), but it does make for a lovely listen.

Present Tense is yet another unusually powerful invitation to savour a few abominable maledictions by these wicked vagabonds.

Electronic Music Improvisations Vol. 1 does what it says on the tin, but transcends curio status through Miller and Jones’ unique musicality and verve.

This is a quiet album, simmering with authenticity and potential.

A deep, meaningful and purposefully intimate rock ‘n’ roll record. But what sets this apart from the other LN&POTR albums is that is doesn’t borrow from the past so much as showcase their own strain of cosmic heartland rock.

Concise and defined, the 10 tracks here distill Marina’s thoughts on modern day society and all its horrors into a short, sharp shock. ... If there’s anything the album lacks though it’s some of the knowing playfulness of her previous work.

The production, by Foy herself together with Harry Fausing Smith, is perfectly judged, coating these songs in a warm yet otherworldly air. It’s unlikely that you’ll hear a collection of songs so striking and attention-grabbing. And, as impressive as this debut album is, the most exciting thing about it is that it hints at even greater things to come.

Strange Little Birds from 2016 was a belting return to form for Garbage, and although No Gods No Masters has its moments, it’s not quite at the same level. Mainly written pre-lockdown, it strangely fits the current world probably better than it would have done if released earlier, though.