Two decades on, Formentera sees the band still going from strength to strength, evolving their sound as time goes on, while retaining all the elements which make them such an enjoyable listen.

Clever but debauched, silly but serious, this is the best album of their career thus far.

It’s probably the most accessible Soccer Mommy album to date.

This enchanting and deeply felt piece of work marks Gwenno out once again as a unique artist with much to say.

No one really shakes things up. Still, there are numerous moments of real beauty here.

It’s the sort of album which flows naturally along, with not a song, or even a lyric out of place. She’s been flying under the radar pretty consistently for a decade now, but if there’s more records of the quality of The Spur, more people will inevitably fall in love with Joan Shelley’s music.

Here is a songwriter effortlessly recounting his joys of youth and getting lost, and in the process finding himself through a set of subtle musical gems.

There’s a massive amount of power and feeling in the music but perhaps even more of an impact is in the feeling of expressionism and freedom that it represents. In forcing herself to look at who she is as an artist and explore new ways of creating Zola Jesus has firmly taken back her power and forged a new way forward out of the darkness.

From start to finish, it’s a thrilling ride with some important messages of determination and empowerment that swirl above annoyance, frustration and resignation. Once again, the Berlin-based Newcombe has crafted yet another worthy addition to his portfolio.

‘Flicted is one of the more positive responses you will hear to the pandemic, and it continues Bruce Hornsby’s rich vein of form in recent years. ... It is giving Hornsby some of the best music of his career.

The main issue that dogs this album is weak composition – few of the ideas are outright bad, but they don’t earn their runtime.

As there is little deviation, you wonder if the band had control with the various producers largely going along with what the band wanted rather than trying to exert their own influences over the record. Whilst it does work at times, Life Is Yours will probably find itself confined to the list of also-ran albums of 2022 as a whole.

Magic Pony Ride might not be the most ambitious record in the world, or in Paradinas’ discography, but the music accomplishes its stated goals and is enjoyable in the process.

This album’s half-in-half-out approach is unsatisfying.

There will be parts of this album’s roots that those outside Mali can never fully comprehend, but regardless of your entry level, you’ll be certain that those roots are still strong and bearing exquisite fruit.

The only problem with Inside Problems is that it’s possibly too arch and mannered to appeal much beyond those familiar with Bird-lore.

A perfectly paced album, but despite the elegant sequencing, there are definitely tracks you’ll come back to far more than others.

It’s a record that’s testament to going through hell and coming out the other side. It’s also an album that confirms Angel Olsen as one of the foremost singer-songwriters of her generation.

It’s a record which will make a fine introduction to Stars for any newcomers, while long-term fans will hail it as their finest work since Set Yourself On Fire. At its essence, From Capelton Hill is a distillation of what makes Stars so great.

There is no filler as such on Some Nights I Dream Of Doors, though there are some pacing issues that could be dealt with by rearranging tracks. However this does not prevent it from being an auspicious debut, and a fine showcase for Obongjayar’s many talents.

C’mon You Know’s problem is that, after the initial bluster of his two preceding albums, it just sounds distinctly pedestrian, complacent and reflective. The addition of wisps of trippy phasing, looped drums and a diversion into dub (eek!) all add up to songs that seem just a bit too contrived and calculated to really feel like he ‘means it man’.

May well be Tempest’s most enduring work to date.

Recent years have seen outstanding releases by people like Claud, Chloe Moriondo and, on an even more successful level, Maggie Rogers. Jordana is firmly in this lineage, and Face The Wall is an outstanding realisation of a prime talent.

A fine piece of work here, both profound and mysterious. Hopefully we won’t have to wait another eight years for the next one.

The soundfield on Tonight There Is Something Special About The Moon/ Jaki Księżyc Dziś Wieczór… is just too cluttered, whilst the tuning-radios-whilst-the-bath-empties vibe of Anti-Antiphon (Absolute Decomposition)/ Anty-Antyfona (Dekonstrukcja Na Całego) veers close to ambient cliché. Still, Regards as a whole is a rewarding, absorbing listen, and is liable to instigate an outbreak of searches for Schaeffer originals in obscure corners of the ‘net over the coming weeks.

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.

Kendrick’s lyrics are as erudite as ever, and he has thankfully backed away from the excessive voiceplay of DAMN., though a few tracks could have been cut to create a more consistent listening experience. That being said, Mr Morale & The Big Steppers should be applauded for its intimacy, a remarkably detailed self-portrait of his unique, troubled mind.

The whole album is delivered with great assurance and feels instinctive, Moderat effortlessly rediscovering their mojo as a band. They may have had a break of half a decade from releasing music, but MORE D4TA proves they have never really been away.