Clocking in at under 25 minutes, Do You Wonder About Me? is just shy of feeling like a fully-fleshed project. But with bags of potential, it’s an album that makes you excited to see what self-confessed “slop pop” exponents Diet Cig choose to do next.

Slight quibbles aside, there is plenty of gold to be found here.

Those familiar with Modern Studies’ previous two albums won’t find much in the way of surprises here but overall, The Weight Of The Sun is the most developed and assured they’ve sounded to date, very much falling into the ‘rewards deep listening’ category.

On paper the sound palette on Scramblers is bracingly limited, drum machines pushed to their limits and bare-bones accompaniment, and in the hands of a lesser producer the record could well become irritating and tedious. But the sound design, sparse and abrasive though it is, is playful enough to keep energy and verve pulsating through the album’s brief run-time.

While there’s nothing that tugs at the heartstrings as much as Metarie did all those years ago, Dear Life is a reminder that Brendan Benson remains a terrific songwriter. He’s still too much of a quirky proposition to make it big, but Dear Life is a great big burst of sunshine in an all too dark world.

This is a mixed bag, and is – unfortunately – a bit of a momentum killer.

In general there is less percussion than previous Austra albums, which heighten the intimacy in songs like How Did You Know. The exception is the clattering set of drum fills towards the end of It’s Amazing, which disappears in a swirl of harp-like ripples. Yet HiRURiN, as with previous Austra albums, is all about the voice.

Simply put, his music seems alive, and utterly modern – despite its clear and obvious debt to The Beatles. ... This is a staggering work, a monumental achievement – and easily eclipses any of Jones’ acting to date.

One of his best albums and deserves better, confirming Damien Jurado to be an artist operating at the peak of his powers.

Over the past decade Ghostpoet has crafted his own niche, one in which dramatic instrumentation is paired with his inimitable drawl, and this record further solidifies the style that he’s known for, albeit with a few missteps along the way.

The 10 tracks on her debut are all lovingly crafted, but the languid atmosphere means that they sometimes drift into each other.

This is a strong record, and one made with a singular artistic focus. Senni clearly knows what he likes, and he does it incredibly well.

A more brisk runtime and shorter tracks – as on 1981’s Lustwandel, for example – could have elevated the record to greatness, but as it is Wahre Liebe is a diverting collection that showcases Roedelius’ sonic prowess well.

What makes Shortly After Take Off work is the attention to detail, both musically and lyrically.

It means that while O’Donnell’s work is hopeful and evocative, and will undoubtedly calm the troubled mind – a very big plus in the current climate – it may also leave its audience wanting more by its end.

Fetch The Bolt Cutters isn’t the easiest album to listen to – and in these claustrophobic lockdown times, some may baulk at spending 51 minutes with an album of this intensity. Yet while it’s certainly not an album for background listening, those who are willing to invest some time in it will be rewarded by one of the most remarkable records released this year.

A more radical shift in that direction might prove fruitful, but sadly The Don Of Diamond Dreams feels like aimless indulgence from a group that are capable of much better.

Womb contains a world that is by nature red in tooth and claw, and Purity Ring have found a way to marvel at every single aspect of the experience.

It’s been well worth the wait. It’ll probably a while yet before his main band are back in action, so in the meantime, Earth should fill that gap.

Song For Our Daughter is a return to what made her so widely admired. These are songs of undoubted depth and longevity that can provide moments of relief and solace to those in need.

There’s the bones of at least three spin-off albums within its grooves. Yet, this constant shapeshifting means that there’s much to be discovered and loved here. Sounding different every time it’s played is the mark of a great achievement.

For there’s a lot to enjoy on I Feel Alive, but the general feeling of lovelorn listlessness can take its toll on a full listen.

It may not have the immediacy of old Walkmen songs such as The Rat or Angela Surf City, but these stories of New York characters have a charm and subtlety all of their own, which is rewarded by repeated listening.

The New Abnormal lacks the electronic edge of Angles, it has little of slapdash power pop of their debut, and it certainly doesn’t take as many risks as their third (much underrated) record First Impressions Of Earth. There are shades of the old power on Brooklyn Bridge To Chorus, the best song on the record – but don’t ask yourself how it compares to, say, Car Seat Headrest.

Stoddart has obviously brought out a new, more experimental side to Harvieu, as Revel In The Drama is a much richer listen than Through The Night.

Everything seems to hang together in its own peculiar way, to deliver an overall experience that’s unfailingly interesting, although perhaps ultimately lacking the truly special, standout ingredients needed to elevate Webb’s solo work to the kind of rarefied levels he helped Talk Talk achieve.

Are You In Love? is arguably not quite as immediate as Good Advice, with some songs taking a few listens to really find their feet. It may be one for more long-term fans than one that will provide her commercial breakthrough, therefore. But anyone who devotes some time will be able to give an answer to the question that the title track poses.

It is just one of the many avenues Bowie could have gone down, but the effect of what he has done is fascinating and wholly satisfying.