It makes for a poignant, gentle album in the singer/songwriter tradition, with production that’s more elaborate than that of his former alias but not much more. The stories are genuinely endearing, the production creates an intimate feel, and with this album Ashworth has consolidated his reputation as a bedroom pop veteran.

Chapman is an eloquent lyricist with a strong social conscience, but she's also a superb songwriter and musician and Where You Live contains several instances of low key beauty.

[Midsection] is a rare bum note in a record that’s packed with goodies and effortlessly cool.

A surprisingly intimate, thought provoking and occasionally startling listen.

In a scene saturated with predictable guitar bands Clinic are a refreshing alternative, pleasingly unhinged and resolutely refusing to conform to type.

On Accelerate R.E.M. sound like men less than half their age, ripping through 11 songs in a mere 35 minutes that contains great chunks of just about everything that made them the biggest band in world back in the 1990s.

Who knows what direction they may go in the future but it would have to be very special indeed to top this hugely impressive comeback.

The result is immersive, experimental, bubble-gum, intense and deep with stunning layers – and echoes the lockdown zeitgeist.

Both music and subject matter are sometimes claustrophobic, but the whole of Kitchen Sink is infused with a humour and empathy that opens the album out. It might be on point, but it never feels overly worthy; it’s a truthful account told in engrossing style.

More remarkable than the variety and risk-taking pursued by the band are the melodies themselves.

It's a pleasure to listen to, over and again.

There’s no denying this is a heavy record, not at all easy going mood music you’d lightly slap on whilst performing menial tasks. But the mix of gentle moments of reflection amongst muscular foreboding sounds save it from being overly doom-laden. And the fact remains, it is a genuinely exciting listen.

It all confirms Believer to be a suite of disaggregated, miniature sonic tapestries from a pair of young Scandinavian polymaths that delivers a welcome reminder of music’s endless capacity to surprise and delight.

It's a deserved retrospective, and serves a reminder of how, in the mid 1990s, the band had album buyers eating out of the palms of their hands.

Victory Shorts is the perfect addition to their oeuvre, building on 2006's Schmotime with the same irreverence and deep-seated emotion that turns a good record into a great one.

Nothing new, then, but Manhattan is the indie equivalent of a guilty pleasure.

The ambition of Home? is admirable, and Wretch 32 delivers his best album yet by centring the music around these weighty themes.

Their debut is never a dull listen, and boasts enough creativity and considered intelligence about it to set Grammatics apart from their indie contemporaries who are young pretenders by comparison.

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.

+ – might be a tad more restrained and less obviously ambitious than its two predecessors, but it’s still a meticulously crafted, consistently melodic and frequently beautiful work from an excellent band.

Despite the prevalence of rootsy Americana throughout the album, there are a pleasing variety of styles on display.

In spite of its impassioned politics and firebrand title, Statement Of Intent for the most part pursued a more mature writing style with greater depth and subtlety. Everything We Hold continues this trend, whilst also offering strong, affecting songs that might increase this band’s commercial potential.

An album of considerable depths, beauties and terrifying contrasts.

Lorelle Meets The Obsolete offer a heady mixture of psychedelia and grooves that, over time, becomes completely compelling.

Overall, Touché Amoré’s shift to the emotional and the subtle at times, without sacrificing the exhilarating annihilation that characterizes their music, renders Is Survived By dynamic and of higher quality than anything they’ve done before.

The band’s third album has a raw power which has the ability, at times, to stop you in your tracks. It’s also their best work to date.

Sullivan's intelligent use of layers and loops create a phenomenally dense but remarkably accessible soundscape as the band constantly ebb and flow between bombast and introspection.

Big Echo won't change the direction of modern music but it's such an easy, pleasurable listen that it can't fail to enrich whatever environment it's played in. Unreservedly recommended.