Tracey Denim manages that difficult task, of creating an album that feels like a self-contained world without losing sight of songs that really work in and of themselves.

A total package of pop hooks, instrumental genius and gorgeous rhythms, Mulvey presents us with an intelligent record that demonstrates his passion for sounds outside of insular scenes.

A superb debut.

Unfortunately, there are too many missteps for this to feel like any kind of progress on their debut, even if the sentiment behind the tracks remain essential. Sløtface clearly still have much to say; they just need to work out a way of rediscovering their voice.

Much of the record takes the well-traveled Just Mustard path of slamming guitar pedals together until a mind-melding guitar sound summersaults out the other end. This process may as well be the Ted Lasso Way for shoegaze, but few others can boast the ear for melody and a measured control of the chaos like Lovecraftian, tortured Blondie.

Charlie Boyer & The Voyeurs have crafted a solid debut.

Overall, Banks has taken a step forward in her development as an artist, and you can hear this increase in maturity across each album. At times, her evolution is not as convincing as other artists on her level, though the quality of the songwriting here generally makes up for that.

Hardcore fans will likely find things to be affectionate about here, with Pollards knack for sweet melodies with a rough edge still just about shining through, but the safe production and tired performance means Earth Man Blues is ignorable for those outside of the '90s indie sphere.

From Talking Heads onward, Byrne’s songwriting style hasn’t been so much light and shade as light or shade, and the album sags a bit when he indulges in his more twee instincts.

The resulting project is weirdly disappointing; a bold creative decision ends up splitting the collaborators’ contributions down the middle, and BBNG bring surprisingly little vigour or experimentation to the table.

Hooking up with producer Patrik Berger (Robyn, Charli XCX, Icona Pop) has given her music an explicit clarity. His prowess in the studio with some of some of the biggest leftfield pop artists of recent times gives an impressive breadth to the sound which manages to sound both large-scale and minutely detailed, the unfussy execution perfect for Boman’s introspective and unassuming vocal delivery.

Shamir settles into the familiarity of gleaming indie-pop arrangements and sweet starbursts of melody, all while hints of darkness bleed through the margins. While not a startling stylistic reinvention, the album does feel like a rewarding artistic waypoint from an exceedingly consistent singer and songwriter.

Her most polished record to date, in every sense of the word.

This is undoubtedly Pinegrove’s best record yet, and isn’t without its learnings for those that decide to spend some time with it. The band, and Hall, manage to retain their contemplative and overtly confessional style, and deliver something intensely moving and beautifully constructed.

There are a couple of songs on here – like the dull "Crosswind" – which play it too safe, but for Stapleton, a more succinct record is no bad thing because his talent is pretty direct in the first place. In short, as the country scene gets more crowded, Stapleton remains its finest voice.

It’s tempting to see it being one day considered an “essential listen”: compiling and collating the first half of the decade’s tastes, trends, aesthetics and politics into a cohesive and inoffensive whole.

Depression Cherry is a beautiful record about darker times being a point in a journey, not the final destination. It shows its creators have a level of wisdom beyond their years.

The fact that Pattern Is Movement defies genres is both its strength and its downfall.

The sheer variety of genres in this remix collection is just one indication of the breadth of influence that N.O.W has exerted over the past two decades.

As inspired as the band's sounding, it's the three cuts from Houck's solo show that really stun.

Taken as a whole though, Waxing Romantic is a warm, enjoyable listen; one that suggests Bretzer has a voice worth hearing and all of his own.

There are many highlights, to the point where it's evident this is just an exceptionally consistent record.

At 14 tracks long, Gate Of Grief is a long listen and, in truth, a lot of it sounds the same. But after a while those icy beats and warped vocals begin to sound more like a bony, deathlike finger tapping into our instinctive fears. If White Ring are hoping they can exorcise the past and begin a revived new chapter, this is a decent effort.

This is an album of bold, aggressive regeneration that does not fall short.

It's a deft endeavour in making an album that speaks to the most bombastic music of the past, and it's an enjoyable listen – just be wary of ear fatigue.

This shift further into sounds of the dancefloor obviously comes with no hands in the air hedonism, they stick firmly to their monochrome formula but by adding flourishes of colour to their sound they've made their best album yet.

Find The Sun is an unsurprisingly great album from a curiously underappreciated artist, and an unassuming one at that. Deradoorian and her collaborators have made an album that fits the times, without knowing just how pertinent it would be.

While Independence Day doesn’t shine in the same way as the more refined Money Can’t Buy Happiness (executively produced by accolade heavy Dave), it shows a Fredo even hungrier, relentless and refusing to loosen his ties to the street.