Stretched to album length, Haim’s shtick grows repetitive and the music is too frequently solid rather than inspired.

It adds up to one of his most vital offerings since those heady days of old.

There’s the archetypical vulnerability lurking beneath each track, but their sound suggests something everyone from that mid-2000s period has (hopefully) done--matured and become more assured. With it, indie pop mk II has as well. Excellent, this.

This is a splendid and rather accomplished debut album: one senses we haven’t heard the last from Louise, Sophie and Gemma.

If the album spent more time doing what it’s good at we would have a classic on the level that Stormzy seems to be aiming for.

The tracks are brighter, bolder and more immediate than anything he’s done before and thematically they aim higher also.

Endless Arcade might be an album of recalibration and evolution, but it’s also one that more than holds its own against the lofty peaks scaled earlier in their career.

While some may find the almost gossamer light touch a bit insubstantial, repeated plays will find Radiate Like This weaving its way into your heart. Despite it being a long time in the making, it almost feels like Warpaint have never been away.

With Cry Sugar we get a scrapbook of interesting ideas, diversions and pastiches from a producer with little to prove at this stage – it helps that Mohawke’s imagination and skill make the record great fun to listen to.

Flood may not have quite the impact that her debut did, but it ably demonstrates why she’ll be around for many years to come.

Truelove's Gutter is yet another showcase for Hawley's subtle genius. Every sound on the album, from the notes to the vocals, is warming and rich with sensations.

Joy’All is possibly Lewis’ best solo work to date – the sound of a woman fearlessly grappling with middle-age and dealing with all it has to throw at her.

Sometimes it sounds bleak, sometimes it sounds glorious, but it’s in embracing the full gamut of life experience, as Zola Jesus does here that nothing becomes everything. The shackles might still be on, but this is the sound of an artist reveling in freedom.

Generally it seems Dizzee fares better when bouncing off others’ contributions. This makes E3 AF a step in the right direction, and while it doesn’t quite display the finesse of his first three albums it’s a welcome trip down memory lane.

Castle Talk is their Born To Run, scrappy and brimming with flashes of greatness; it's the album that could very well launch them into a lasting place in the indie rock canon.

The summery feel and gloriously messy pop sensibility are at times great fun, but with something that is so derivative, it is hard to get too carried away without getting an urge to switch this album off and dig out the originals.

Dancing is certainly Nancy Elizabeth’s best work to date.

DJ Rashad indulges in his own tastes and viewpoints, ultimately creating an album’s worth of songs that are exciting on their own but exhausting and at times dull when listened to from start to finish.

This is an album that incorporates a cornucopia of musical styles and weaves them together perfectly to create a cohesive and quite elegant whole.

Novelist Guy remains a very promising debut from a young artist who has already placed himself at the forefront of grime’s equally promising future.

The two albums she released under the Saltland name may have established her credentials as a composer in her own right but Waxing Moon feels a more personal, considered release that should give her the confidence to explore and develop her sound further.

As ever with Marshall’s covers project, it’s a mixed bag, but there’s more than enough here to keep Cat Power fans satisfied until her next album of original material comes along.

His craft here does have more to do with storytelling than it does with music making, but these haunting, desolate narratives are very much complemented by the lo-fi, repetitive, yet meditative backing tracks, which are ultimately presented like the lost soundtrack to a movie.

The last few records have seen them experimenting successfully with dashes of vivid colour, spinning bass lines towards the dubby area of the spectrum and enjoying a laugh at theirs and others’ expense. Wheeltappers & Shunters continues the trend, with music of colour, mixing its cold shivers with moments of unexpected charm.

One Life Stand feels English in the best possible sense: it's cosmopolitan, unassuming and ever-so-slightly eccentric.

As an album No Treasure But Hope feels both familiar yet also a development. Emotional density to the lyrics pairs admirably with passionate, compelling music, and it’s varied enough to encourage engagement from beginning to end.

It's much less forthright and immediate than Inverted or Chutes, but it succeeds in spinning a web that draws you in; once caught you just want to lie back and absorb its gentle bounce.

As usual there’s a lot of depth here and over time, more and more will be revealed. Glass Boys might not be as expansive as its predecessor, but it is no less impressive.