Melding intriguing lore with a provocative (and sometimes crass) take on feminist politics elevates the album into more interesting territory than mere revivalism.

It’s an exhilarating punk album with the intention of mobilising those who listen to it. There’s rage, sadness, delight and bitterness within every sound and syllable, and from within that cocktail of feelings is a charged devotion to creating change.

Sharp pop moments shine brighter than some of the weaker ballads that pad out the lengthy tracklist. Yet ‘The Rise And Fall Of A Midwest Princess’ is a display of Roan’s bold and brazen pen, where she places searing revelations alongside some deliciously cheeky choruses.

It’s not necessarily trying to be clever – more that the sheer weight of its many ideas crushes the more visceral response that its obvious instrumental swagger demands from its listener.

Eschewing any grand, overarching statement, The Smile sound – whisper it – quite comfortable within what is now their established aesthetic.

The sequel to 2021’s ‘Music Of The Spheres’ – and one of the band’s final records – gently and subtly distils that spirit of weathering any storm, going on a journey from that bleak opening moment to a more accepting, happier ending.

Ezra Collective deliver on the excellent ‘Dance, No One’s Watching’, bringing people back together on the dancefloor.

Amid the admirable artistic confrontation in this record, there’s a gnawing impersonality that plagues many of the tracks here. There’s enough diamond material shining in the dirt to make this one of the most inventive posthumous albums that’s been released in recent times – it’s just a shame that the album doesn’t fully execute SOPHIE’s unique vision.

‘Smitten’ is a loved-up record that’ll have you falling for Pale Waves all over again.

A record that sometimes hits the target but rarely leaves a lasting impression.

Packed with meditative spoken-word vocals, this is an even more melancholic record than its predecessor – and a less immediately exciting one, too. But it’s arguably a more complex beast, born of a complex era yet authored by a musician with one eye on the simple, timeless pleasures of the club.

An honest, innovative collection that bolsters her reputation as a stellar songwriter, Yanya “undiluted” makes for an absorbing listen.

He pushes deeper and comes up with something that’s both poignant and fun in equal measure – a solid gold record that leans into the little moments and produces pure, emotional magic that will ensure many more “biggg mad crazy” times in Fred Again..’s future ahead.

Scream the words and dive head-first into the Fat Dog experience, because ‘Woof.’ is pure, unbridled escapism – just what the world needs right now.

It’s tempting to tell Smith that Murphy wants his shtick back (along with his suit), but the pastiche is often effective, at least.

‘Manning Fireworks’ is an album that aches for its cast of freaks and losers, and its success in walking that line is a sign of MJ Lenderman’s richly developing voice.

It’ll take time to see if it becomes a standout in her discography, but this boldly brazen record definitely makes a statement.

Where that debut album focused on Slater finally becoming the songwriter he had the potential to be, its follow-up reworks and refines his strong storytelling. Here, the frontman enriches his lyrics and pairs them with a dash of chaotic energy brought in by his bandmates and the unity between them.

With a lust for life, the once-dark prince is letting the light in.

Gel have a firmer grip on the steering wheel this time around; their savagery is nuanced but uncompromising, and they’ve grown into themselves with a great deal of grace. Take your eyes off them at your peril.

Musically, Carpenter mostly finds that niche she’s been searching for, getting comfortable in a country-pop groove on the likes of ‘Coincidence’ and ‘Please Please Please’, or nailing frothy pop bops like ‘Taste’ and ‘Juno’.

Effortlessly weaving elements of his hardcore upbringing in the West Coast DIY scene with more classic and fragile approaches to songwriting, this is an open introduction with all the hallmarks of America’s next unlikely star.

Pacing a 15-song LP is no simple task, and ‘This World Fucking Sucks’ can sound uneven. .... The record ends with a showcase of the emotional power of Cassyette’s voice, which still feels like a breath of fresh air in the alternative sphere and will stand her in good stead as she continues to establish her sound.

‘Imaginal Disk’ is a zeitgeisty time capsule of anxious post-internet existentialism and the online condition observed through a synthy flower-power lens. Here, Magdalena Bay are underrated pop messiahs at the top of their game.

‘Romance’ is the band’s most considered and intricately crafted release yet.

Coupled with their uninhibited star-crossed takes on love and relationships, these chiming refrains are addictive and refreshing, lending impetus to what can appear to be a dog-eared set of blueprints.

Songs like ‘No Simulation’ and ‘Red Flags’ bring back her ethereal, brooding signature sound, too, while others serve as little pick-me-ups for when you need to switch on. But, this record doesn’t weld these two sides of Tinashe successfully. There’s still a way to go before she finds her sweet spot, but this is a fun stepping stone along the way.

Although ‘Lungu Boy’ sees Asake still rewriting the rulebook on Afro-pop, you have to push through a lot of samey repeats of his past work before you get to the good stuff.