It all adds up to one of Jeffrey Lewis’ finest albums – which, considering the size of his back catalogue, is some achievement.

It’s not some big reinvention, more like an expansion. And honestly? It’s better to have it than not. It could have done with a couple more rockers, though. And some guitar solos.

This might not be it [a landmark record], but by god does it sound like it wants to be at points towards the end. Night Life is very, very good.

Japanese Breakfast’s most satisfying album to date.

The hook-filled I Seeeeee You Baby Boi plays to Carti’s more melodic instincts. .... Tracks like these are simple in the best way, complementing his loose, spontaneous rapping style, but over the course of this album’s 30 tracks the lack of vision becomes apparent and the inconsistency becomes egregious.

An album that seems full of ideas and creativity. Liverpool has, of course, produced a lengthy list of bands over the last few decades. It looks like Courting can be added to that rich musical heritage as well.

Midnight Concessions is another reliably compelling missive from a rare talent.

Halo On The Inside is a harsh, often claustrophobic record that draws you into the emotional whirlpool of its sound and won’t let you go.

If there’s a critique to be made, it’s that All Worlds sometimes feels like a victory for a race that very few people ever saw. But maybe that’s the point, and the lads just did it for themselves? Like the Golden Record, it’s less about delivering a neatly packaged message and more about sending something out there.

It’s a collection of 11 instantly likeable songs that, from the title onwards (a twist on a motto of the BBC) seem to touch on communication issues, growing old and lessons that life can teach you. Collins’ voice, despite his health issues over the years, is still as rich and distinctive as ever and suits these songs like the comfiest of jumpers.

It all adds up to another quietly life-improving collection of humble, euphonic Americana, a set of delicately realised musical tapestries that beguile and enchant.

Divorce have served quite a calling card with this debut, and it’s fair to say that, by the sounds of it, they’re in it for the long haul.

It may never be regarded as his best work, but for certain fans at certain points in their lives, it’s all they need to hear.

It may never touch the heights of The Walkmen’s best moments like The Rat or In The New Year, but these sharp, charming love songs show off anther side to Hamilton Leithauser.

There are moments here that can stand shoulder to shoulder with Mould’s considerable back catalogue – and while Here We Go Crazy won’t, in all probability, gain Mould any new fans, there’s plenty to satisfy anyone who’s come under his considerable spell over the last few decades.

It’s messy in places, beautiful in others, and constantly in motion – Microtonic is the first step towards greatness on the band’s own terms.

Whilst each of these tracks was created to serve pre-existing imagery, the beauty of presenting Hecker’s compositions in this way allows the listener to create their own interpretations and visualisations. Shards is far more cohesive and affecting than its formation suggests it should be.

The productions themselves are brilliant, to the extent that a track with a seemingly unsexy title of Statistical Modelling turns out to be a weapons grade banger. And therein lies the album’s brilliance, a set of contrary statements and expectations that are equally thrilling and alarming.

An album almost bursting with ideas and one that, given the time, you’ll want to live with for months to come. The best album from Darkside to date.

Strength in adversity is a powerful combination in music, and Doves have it in spades, delivering an inspiring sixth album.

Sinister Grift, as the title implies, has a shadowy underbelly, a curious tension at its heart that makes it equal parts happy and sad. Yet it is a beautiful record throughout, enjoying the freedom that characterises Panda Bear’s best work.

The themes and ideas are the same [as Funeral For Justice], but the execution makes it into something original, and in this case essential. In fact, this is probably the most essential acoustic rock album of the past decade.

At just eight tracks and a 30 minute running time, it does feel a bit slight at times. Yet that’s a minor quibble: much of Pinball Wanderer shows just what Bell can produce when he’s given a rare spotlight.

As they sing in the closing track Fresh Meat, “the past is catching up again”, and maybe its that sense of time moving so quickly that makes this chaotic, exhilarating and often perplexing album such a compelling listen.

By the time Heavens Sent’s mellow guitar line fades out it feels as if Glacier has reached a spiritual breakthrough – the journey to this point, while fragmented and non-linear, is one of the most accomplished debuts of recent times.

Rarely Do I Dream is another beautiful album from Powers, which seems to be a constant, no matter what name he chooses to record his music under. It manages to sound both nostalgic and contemporary, full of songs that evoke the warm glow of childhood, but with a creeping menace never too far away.

If Young’s Archives were tiered by quality (with Homegrown and Way Down in the Rust Bucket at the top), then Oceanside Countryside is at least a B+. It’s a very enjoyable, consistent and relaxing listen that doesn’t come with any of the baggage of many of Young’s heavier releases. Just splendid.

All Living Things shows how Jiha is able to navigate the border between the experimental and the accessible with confidence and deftness, its woozy textures and spectral aesthetics making for an engaging listening experience.