The album as a whole is a safer affair than Taylor’s previous releases, but for the most part it’s very good, and its cohesion isn’t necessarily a weakness. Still, it’s hard not to approach a new Self Esteem album expecting some kind of life-changing revelation, six months of therapy condensed into an hour-long speedrun.

This new LP doesn't really break new ground in the same way. It does flesh out his personality and provide substance behind the flashy pop showmanship though, and that's not something to be undervalued.

Though it needn't define them, with Until The Tide Creeps In Penelope Isles have built a strong foundation on familial dynamics and the criss-crossing of sibling perspectives with elegant and catchy songwriting, springboarding them in to the many sets of arms ready to welcome them.

Coomes wouldn't have the length career he's had if he wasn't a gifted songwriter, and hopefully if he puts out another solo album he can find a better balance between good weird and gratuitous weird.

Take Control colourfully, and often cartoonishly, blazes with a refusal to accept the monotonies of everyday life.

Welchez and Roswell have proven their creative resilience with Dreamless, an album that illuminates the painful moments that plague all of us, while also providing hope that creativity can keep the shadows at bay even in the darkest night.

More than ever, new guitar bands have to have a hook to differentiate them from the masses, and it’s the combination of Lardner’s witty company and QTY’s idiosyncratic approach to a well-loved sound that makes their debut a delight to spend time with.

Whilst some tracks are arguably a bit forgettable, this album is still full of some brilliant moments.

Fusing progressive big-beats, deeply personal lyricism and intelligent song-writing, it once again reveals IDER as the indispensable voices of a generation. Utterly compelling listening.

However cloaked in black this record often feels (the closing track “Sister” deals viscerally head-on with the issue of rape with passion and extreme clarity), it’s rarely at the expense of any listening pleasure; sure there’s little let up in the mood but when the writing is consistently good you really can’t quibble about wanting more colours on the palette.

Bigger. Messier. does drag a little towards the end – particularly when Elfman’s collaborators show too much respect for the original tracks. (Stu Brooks’ remix of “True” is an example of this: the bassist played with Danny Elfman at Coachella, and you get a sense that he’s a little too close to this music as a result.) But then the album closes out with an absolutely bonkers remix of “Happy” by Little Snake, who somehow manages both to deconstruct the track into smithereens and to enhance its gothic, trippy essence.

This sound suits TTNG, and always had really, but it feels all the more comfortable and at home with Dissapointment Island, and jokes aside, proves the title really is a misnomer.

It’s a considered, thoughtfully constructed record that adheres to a stylish, seductive aesthetic.

A new Dawes album will succeed for one primary reason: Taylor Goldsmith’s ability to connect with a new batch of stories. To that end, Stories Don’t End is another success.

Although wrestling with Sport, at first, may prove to be a challenging affair, it rapidly becomes a wholly rewarding and thorough sonic work-out.

All That Must Be is a record that frequently toys with this idea of transition; creating a constant balancing act between two forces fighting against each other. At some point someone has to give in, and this is the perfect soundtrack for letting go.

Make time for this single-sitting long-player and you will be rewarded.

Beck’s Colors is a musical invitation to a soiree that ultimately lacks both substance and staying power, and is crucially missing the self-awareness that something more important is at stake than merely having a good time.

Do Easy invites you into its own rarefied world, a world where things are exotic, tranquil and seductively unique and makes you want to stay there.

“I Shouldn’t Have Said That”, the pummeling psych diptych “Return of Witchcraft” and “Witchcraft”, and every other corner of Eggland find them in their sweet spot: blunt pop purity bolstered by Big Muff pedals and a sense of not-quite-reckless abandon.

The wondrous melodies sometimes come across as overly whimsical and fey, but Death Vessels create a communicative link from the human heart straight to the unknown realms of the cosmos.

What happened to Jason Chung’s mind and body in the last three years to prompt such a hesitant album is unclear, but despite its flaws, Home feels like the perfect encapsulation of weakness turning into strength.

While it is a shame that some of these ideas don’t feel more fully fleshed out, there are still plenty of moments that set characterise White Fence as some of the most interesting ’60s-tinged music being released.

Where The Heaven Are We ably showcases their innate knack for massive hooks--it’s a rock-solid debut with something for everyone.

A record to showcase where they are now, and hint toward where they might be headed.

Dalle sounds as if she’s on autopilot for much of Diploid Love; she’s obviously got talent to spare, but she’ll need to provide herself with a sterner challenge than she has here if she’s to truly capitalise on it.

You can come here for the unsuspecting pop songs, the meditations on traditional Scandinavian folk music, the strange humour and infectious friendships. Against the great abyss of tangled internet information, Saints and Sebastian Stories is an unobtrusive gem.

It remains to be seen whether Song of the Earth is just another curious left-turn in a discography full of them, or whether it signals a new Dirty Projectors epoch. What is certain though is that Song of the Earth is a thematically singular album.