With Time Indefinite, William Tyler offers a fresh and uniquely compelling way to affirm that it’s OK not to be OK: these are humbly majestic anthems for our anxious age.

Listening to this record is equivalent to being on a moving sidewalk at the airport with a rocket-powered wheelchair; there are G-forces propelling this tracklist astronauts could not withstand.

Even though Thee Black Boltz may fall short in comparison with the band’s best records, it still offers flashes of brilliance and maybe even some comfort if you’re going through a difficult patch.

On Send A Prayer My Way they apply tasteful country renovations and marry humour, melancholy and joy with timely themes in a way that will only delight fans of either artist.

SABLE, fABLE’s slog in the middle wouldn’t have been as hollow had that seeped into the central concept more. For now, the record shows signs that Bon Iver’s discography runs in duologies, much like Mitski’s.

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.

It showcases a love of jazz and world music, bringing these sounds into their existing sound in an exciting and offbeat fashion. It acts as a bridge to their next full release, something for fans to pour over and get lost in with a huge amount of variety and talent on display.

What lets the record dive into her usual realm of staggering emotional depth is, again, her emotive core relentlessly shooting out UV rays of hesitant optimism.

Those who invest in their fave singers’ personal lives will no doubt enjoy digging deep into the lyrics. Those who fell in love with the epics and wigouts of 2018’s Historian may find engaging moments on an album too cohesive for its own good.

Complex yet surprisingly accessible, Dan’s Boogie doesn’t necessarily break a huge amount of new ground. It does however, see Bejar successfully refining his craft even further with superb results.

It’s not a hilarious disaster, it’s not a tabloid tell-all or, you know, actually good. It’s Smith’s late career in a nutshell, just about getting over the line thanks to his star wattage, and all the weirder for its smoothed-out polish.

Jellywish includes some of her most intimate work. As a listener, it’s as if you’re being privately serenaded during an exquisite chemical sunset.

At a dozen tracks long, with The Crux, Djo is proving himself as a multi-faceted artist, being equally talented as both a performer and songwriter.

This album, as different as it is from the band’s other output, is simultaneously the most distinct Black Country, New Road has ever been.

It’s a record that thrives on trust, experimentation, and the sheer joy of making a glorious, deafening racket together. It also respects its audience enough to be honest, to be fearless, and to deliver something unfiltered and real, bursting with personality. Pigsx7 have never sounded more essential.

Friedman and Weingarten’s friendship remains an ever-constant reference point in their most confessionally open offering yet, the core chemistry between the two leads pulling the disparate and shared pasts together in a unified voice.

Oceanside Countryside provides a snapshot of Young in the middle of his 1970s winning streak, possibly the most creatively fertile run that any songwriter has ever had the good fortune to find themselves in.

God only knows if Great Grandpa will ever top Patience, Moonbeam. For now, let's cherish it. After all, with this album, they've proven you can't rush greatness.

This album is an artistic triumph. It blends the strongest elements of a “metal” album like New Bermuda with the strongest elements of a “shoegaze” album like Infinite Granite, and features the band playing both metal and shoegaze better than they did on either album.

Glory welcomes everything whether ecstatic or low-spirited, knowing that time, the inescapable spectre, will take it away and leave behind a masterpiece of memory such as this record itself.

The record is certainly sparkly, but its hollowness is glaring. SALVATION is so desperate for someone to call it iconic that it neglects what makes an icon anyway – personality.

With this album, they’ve crafted something that is still powerful, vital and confrontational, but balanced between fury and finesse. Constant Noise is more enveloping, mesmeric and, at times, beautiful in its mannered rage.

It’s consistently propulsive, passionately performed, and paced with euphoric enthusiasm to the point where even its still moments are pushing themselves forward. No faith has to be placed on Holley’s songwriting ability like on previous releases, and no climax must be waited for; each track cedes itself into moment after moment like sifting grains.

Night Life is a dark synth album from a band turning away from the big expansive sounds of the past to explore both the desolation and pleasures when light turns to dark, and their best album since Skying.

Albeit diverging in duration from its predecessors at a mere eight-tracks, Lust for Life remains sufficient in scale to carry such a taste for semi-encrypted post-punk wisecracks.

Like every great record, For Melancholy Brunettes fits well in its release’s social sphere. These poignant songs are as relevant as ever in the United States, now equipped with an insatiable leading figure who has become a patron saint of noxious male authority for the impressionables. It’s only a shame that the music, albeit beautifully composed, doesn’t feel as forceful as the subject.

Without appearing arcane, Earth-Sized Worlds snapshots the group in their element, continuing to breathe new life into the remnants of often overlooked sub-genres in a brain-frying madcap patchwork.

Off With Her Head is both focused and commanding. Her varied approach to songwriting and crafting results in some of her most unrelenting work yet, and its messiness is charming rather than trying.