Yesterday Was Forever provides plenty of evidence that she can still hit top form when she wants to.

Musically, Tundra’s invention is everywhere. Paint Can employs ultra high-speed chord changes and sudden tempo lurches, Golden Doldrum is an inside-out and back to front bit of burbling robot pop, and recent single Alarms is O Superman turned banger, with rhythms crossing rhythms.

There’s nothing new or surprising here, but that doesn’t matter. The Nothing They Need is an album that works best when it simply washes over you.

Splitting I Don’t Care Pt 1 and I Don’t Care Pt 2 into two separate tracks makes sense; one is jerky and aloof, the other stumbling and awkward, and they make nice companion pieces. But putting the two tracks either side of the aimless piano noodling of Hank’s Theme is a mis-step. That said, there are some excellent songs here, like the bristling, melodic Viper Fish, the frenetic Cracker Drool and the brash Country Sleaze.

Throughout Your Queen Is A Reptile, thundering drum solos and rapid tempos are tempered by Caribbean beats and carefully constrained composition. The result is an highly listenable album with an audibly beating heart, which deserves to be played so loudly that the neighbours complain.

Combat Sports is their shortest album yet, with none of its 11 tracks straying over four minutes, all in bursts of compact energy. Each song has a short guitar solo, while riffs and hooks abound, in stories of combative love and sex couched in Young’s characteristically wry lyrics.

There’s not one dud track on it, and each listen unveils something new to hear. Most pleasingly though, in these dark times, is that it’s a whole heap of fun. 2018 may be only a few months old, but we may have its album of the year already.

No Mercy In This Land sits somewhere between the the classic blues records of BB King and the mellow folk tunes of bands like Angus and Julia Stone. Whether you are a die-hard blues fan or just after a narrative driven and emotive album, No Mercy In This Land has something to offer.

Gwenno is doing important work here, and for those willing to open their minds and step into the mythical land of Le Kov will find that they may not want to leave.

At just eight tracks long and with a half-hour running time, I Want To Start A Garden is more an introduction to Haley Heynderickx than a fully formed declaration. It’s enough to make you very excited about what’s yet to come, though--this particular garden is ready to bloom into some very special greenery.

Ultimately it proves itself to be Essaie Pas’ most purposeful and satisfying release yet.

Now Only occasionally treads a fine line between soul bearing catharsis and a vividness so acute it feels disconcertingly intrusive.

It’s a vivacious, impactful beginning which appeals both to the heart and the body. Yet, there’s also plenty of evidence of skilful management of sounds, elements being introduced and withdrawn at the opportune moment.

Although it will sound perfect in the arenas of the land this summer, for those of us who were blown away by early tracks like Budapest and Cassy O, there’s a lot on this follow-up that plays a bit too safe.

In Boarding House Reach White gives himself a free hand, and the result is a more experimental and surprising work.

The follow-up does just what Human Ceremony did, but more so. And better.

World Beyond ends up worth a listen if you happen to be someone who likes ’80s synthpop and classical music in equal measure. Whether there’s much here for anyone else is moot.

This is a startling debut that pulls off the trick of sounding utterly disposable and simultaneously full of substance.

Overall Dear Annie is pleasant, with other highlights including Mon Amour, Pink Lemonade (mostly for its gorgeously woozy production) and Egyptian Luvr, but it could have benefitted from losing some filler and gaining just a little more dynamism from Rejjie himself.

The album is at its best when it explores glam influences: the campness and flamboyance nicely mirror the theatrical nature of The Decemberists’ established repertoire. But they would do well to learn that sticking some synthesiser parts behind a guitar band doesn’t automatically make them New Order.

Sure there are obvious bands they can be liked to--The Band, Sam Cooke, Otis Redding--but its pace and passion make it a record to enjoy for itself, rather than its influences.

It’s thoughtful, intelligent and considered music that’s not afraid of having a sense of humour.

There’s A Riot Going On takes longer to reveal its treasures, but ends up being an enduring and rewarding listen, their best since 2009’s Popular Songs.

American Utopia is epic, it’s sprawling, it’s filled with everything but the kitchen sink, but most of all, it’s filled with promise.

The real highlights are the two tracks with lyrics, Roll Back with Lil Silva and the suitably nocturnal Half-Light (Night Version) with Tracey Thorn of Everything But The Girl. These songs play to Fitzgerald’s strengths. By contrast, the rest of the album feels like watching a stage with no performers on it. A well-lit stage, as Fitzgerald can create a mood well, but still fundamentally a hollow experience.

A Work Of Heart [is] the positive, life affirming work of art its creator clearly wants it to be. On it Ty feels like an older, wiser brother who doesn’t preach--but who also has your back at all times.

With this record Young Fathers have managed a perfect synthesis between what they are saying and how they choose to present that sonically. Yes, this is a highly political and experimental record, but it is also a brilliant pop album.

It may not be an easy listening experience at times, but Violence is ultimately an album that deserves your patience.