Weezer’s greatest misses may come from their frontman’s visceral desperation to stay relevant, but it’s a relief to hear them take chances and risk failure in such a new way. The album might just be OK, but it’s been a long time since Weezer have dared to be this human.

Baio’s third and latest doesn’t drastically divert from type as such but presents his songwriting at its most concrete in pace, malleability and variety.

The versatility of Collapsed In Sunbeams is beyond comendable. Parks seemingly effortless lyricism and laidback melodies make her songs cosy in winter, and chilled in summer - always to be uplifting and comforting. Every track can mould around different settings and this level of versatility in a debut album is a rarity. Collapsed In Sunbeams is timeless.

Fans will be pleased to hear nothing has changed. Stepping inside The Hope List feels like setting foot on a wide open field, where clouds mar the sunlight, but a warmth still radiates all around. A gentle wind flurries, blowing all around while the horizon feels endless.

What it undoubtedly is however is a tentative sidestep, keeping one foot firmly in New York post-punk while allowing the other to wander towards sunnier, more refined pastures. An alternative route that, while not always trodden in style, Palberta have nevertheless proven they’re more than adept at taking.

What sets Kiwi Jr. apart from their peers though is their madcap view of the world and Cooler Returns establishes them as a band too confident to conform; a band who have all the skills to match their lyrical smarts.

If you like your music ordered and predictable, then Cheater probably isn’t for you. But if you’re the kind of person who embraces chaos and doesn’t care if the can of fizzy drink has been shaken up before you open it because the resulting sticky mess is just as sweet, then you’ll love this album.

On her debut, Sleepless Dreamer, the folk-soaked, pedal steel tinged sound felt like a familiar friend knocking on your door. With Magic Mirror, that friend has returned, with some stories to tell while ready to dazzle with a sparkle.

Ashnikko revel[s] in her playfully acerbic humour, but also explores friendships and the emotional vulnerability behind her facade.

These are powerful, thoughtful songs that stand up to hours of repeated listening, and always raise a smile in the process.

Edge of The Horizon rarely moves away from the mid-tempo switch which does make you scream out for a euphoric ‘Paper Romance’ or ‘Cards To Your Heart’ moment, so effective on their last album.

The bold ambition doesn’t go unnoticed.

There is much joy to be found here, amidst many a question mark, but the compiling of a 49 track album with seven themes and this ratio of hit>miss is an achievement in itself - which says a lot for Cook’s skillset.

This record certainly makes things no clearer, but like standing and observing any great work of art, it’s true intentions and artistic merit might not become immediately clear. Only upon repeat experience may the true extent of its merit reveal itself.

While it might take a few listens to make sense of the album's seemingly muddled introduction, one thing is clear: by the end of this hour-long journey, Cudi has reached his destination.

As well as sounding incredible as a whole (not all of Swift’s previous albums have hung together as well as this one) these songs also have the air of a victory lap about them, as though Taylor’s basking in the glow of this new cottagecore indie-pop hybrid she’s found(ed).

Viewed on its own, the often captivating Black Stallion is an effective electronic record.

It’s a charming listen, rich in intricacies and possessing a deep warmth and reverence for the original material. Musically, it’s not going to change the world.

Driven by the same melancholy curiosity that has epitomised the band’s trajectory to date, it instead makes for a wonderfully apt ending to this particular Kinsella adventure. At least for now.

On the surface this band is whimsical and experimental but delve into the depths of their lyrics and the inner darkness becomes apparent. Adventurous and often enchanting, Burrows is one of the more intriguing debuts of the year.

Hauntingly atmospheric and staggering in its scope, it’s well worth spending an hour of your time with. Though perhaps not one to put on at a party.

While 2019's Anger Management showed her off as a maleficent talent with a taste for blood, Nightmare Vacation is Rico at her nastiest.

As Brun has demonstrated over these last two records, whether experimenting or sticking closer to home, she remains essential listening.

With Plastic Hearts, comes a wonderful album about life as a fiercely independent woman. Cyrus has found the perfect balance of pushing her own musical boundaries whilst proving she’s one of the strongest and bravest names in the constant celebrity whirlwind.

Complete with contributions from a star-studded cohort of guests including Stormzy, Aitch and Popcaan, the LP serves as Loski’s most accessible project to date, but he takes care to spotlight his less well-known Harlem Spartans colleagues Blanco and MizOrMac.

Overall, it’s clear that King Gizz’s tireless effort over the past 8 years still has no end in sight as they release yet another radical and innovative album which doesn’t fall short of the endless inspiration that King Gizzard continue to shine.

“Kyoto” is one of the more effective here; stripped of the insistent indie-rock embellishments which made it a single, the rawness of Bridgers’ lyrics is exposed. ... Elsewhere, some versions are less illuminating. ... These songs are still some of the most charming and psychologically nuanced in indie rock’s recent memory.

In a scene over-stuffed with ‘80s-throwback melancholia, it is Byczkowski’s ambition, scope, and keen sense of melodrama that set Something to Lose apart.