Trip9Love…??? feels just as symbiotic in that way as previous cuts 2018's Devotion and 2021's Colourgrade did, but this time, they’re so emotionally vivid that it’s disquieting to feel like a fly on the wall. Once again, they leave the listener submerged.

This is a powerful, brave and endlessly rewarding album made by a band who have risked it all to make a giant leap towards fulfilling their potential.

[A] fine album. If melancholy had a soundtrack, it would be Mint Field’s De Las Luces.

It Won/t Be Like This All the Time (IWBLTATT) is another dauntless step forward, unflinchingly embracing the core aspects of their sound, while boldly incorporating loftier ideas. It is not some grandiose attempt at a knockout punch or some cheap leap at the mainstream; you cannot fake sentiment, or force people to feel something. IWBLTATT is a laser guided arrow to the heart; an enveloping noise that chips away at you over time.

Many of these songs have been in the band’s live repertoire for years. But after recording them on lo-fi equipment and scrapping the results, it turns out to be a great pleasure that the band decided to embrace the opportunities of a new studio environment and produced the fantastical and empiricist take on their trademark noise rock sound.

Rounding off with the fitful “Wildfire”, Shygirl closes the curtain on a remarkable musical universe that shows she’s one of dance music’s emerging greats.

This being a Spiritualized record, you should know exactly what to expect. ... The only minor gripe that you could have with the project is that it’s nowhere near as vital as Pierce’s recent collaborative record with Föllakzoid.

WARM sees this industrious figurehead of intelligent American rock return to a form where he can balance these two extremes effortlessly and make the deeply personal sound thoroughly universal in a manner that is unlikely to leave cold anyone with a heart that is still beating.

An electrifying and utterly unexpected treat, it’s packed with the kind of nourishing and warm music we would do well to turn to for sustenance and uplift when times get tough.

The album’s strength is drawn largely from these expansive arrangements, which make use of sparsity and density with equal power.

Laufey colours both inside and outside her established lines to create a joyful tension on A Matter of Time. It makes for the boldest chapter in her artistic story yet.

Light Up Gold isn’t total hedonism, but as riotous, guitar-led escapes from the drudgery of the day to day go, it’s more than enough fun to convince you to go along for the ride.

For all the tragedy that’s to be found within Singing Saw, it is a warm, welcoming album, every second of it informed by a knowledge of the transience of all things.

She subverts expectations and embraces contradiction, creating fascinating sonic concoctions with familiar ingredients, all brought together by her twisting melodic sensibility.

No One Was Driving The Car represents a strong return to the guitar-driven, fictional, but nonetheless moving terrain of La Dispute’s third (and best) album following the more personal and pastoral Panorama.

If you’re ever walking by rundown buildings of the same stature, listen to Shaking Hand and let the colour in the mundanity reveal itself to you.

With the totally triumphant Course In Fable, Walker has devised the ultimate two finger salute to anyone who has ever pinned him down as an artist chained to vintage inspirations: this exciting, moving, beautiful and complex album sounds only and exclusively like Ryley Walker music. Listen to it with the attention it so richly deserves, and rewards.

This isn’t a perfect album – far from it – but it is stylistically consistent, thematically coherent and beautifully composed.

The studio cuts from this era on What's Your 20? provide a reminder of the huge contribution that the late multi-instrumentalist (and Tweedy's occasional co-writer) Jay Bennett made to Wilco's gradual shift from sour-breathed earthiness to more experimental, sophisticated and unsettled sounds.

It sits balances between a '70s and '80s sound, yet is somehow incredibly modern in tone. This is something IDKHOW do remarkably well.

A concept album this is not, but the with the veins running deep with recurring themes, as a second album, Davies has managed to construct a weighty signifier of impassable change. ... Packing a punch musically; twisting and turning; immersing with piano interludes branching elegantly from the albums introductory roots (“All Shall Be Well”), the softest nature is held for later cut “5am” which feels as vulnerable as it does honest.

Like the tightrope act of love itself, Love’s Crushing Diamond perseveres through calculated effort never to offend or betray the trust of its betrothed listener.

Duffy has sculpted an album that vibrates with courage, tenderness, and a sheer insistence to feel. Blue Reminder is not just another indie-folk sojourn; it’s a declaration of presence.

Listening to Anicca is like watching the sunlight burst through a stained glass window: everything you hear is bathed in light; warm, soft-focused notes swirl together in a wash of colour – the perfect soundtrack to brighten any setting.

As Albarn croons, “Every generation has its gilded poseurs” and The Ballad of Darren prove that Blur are some of the best ever to do it.

As opposed to the rich, twisted dreamscape of Ignorance, Stars is a record of dense and oblique beauty.

Whilst there’s a great range of material to lose yourself in here, it can at some points feel a little like (Whirring Marvels In) Consensus Reality is composed of many different albums – switching swiftly as they do between ideas from song to song. Your mileage will vary, and the excited mixture of material did little to affect my enjoyment of the album, but it’s worth pointing out nonetheless.

A dazzling introduction to new fans, and a crystal clear familiarity for fans that have been here from the beginning.