This is an album that’s been made with care and intelligence. The results are compelling.

This is a sharp and quite possibly an important album, as memorable and considered as it is acerbic. Bravo.

Cate Le Bon and H. Hawkline join Gwenno for the spiky, feline Y Gath, sliced between the celestial ballad Utopia and the windswept desolation of War. Finally, on airy closer Hireth, the album seems to take off out of the city streets and into an otherworldly reverie, delicately strung together with harp and flute.

Skullqueen and Electra Rex mix serenity and apocalypse to excellent effect, with the latter indulging in the manic pitch-shifting you've come to expect from Arca. But the quieter cuts are also nice, like the Björk-ish Joya and hip-hop inflected Señorita (co-written with Max Tundra!).

Keys and pianos prove especially important as seen on John Lennon-esque finale The Barely Blur making WHY?'s latest a dreamier affair, easy and pleasurable enough to get lost in.

Light Information is a mixed bag of indie rock gems, ramshackle in sound and structure, but there are clear lyrical themes.

I Have to Feed Larry’s Hawk delivers the same meticulously crafted, 60s indebted, but still idiosyncratic psych-folk that Presley is known for. It just happens to be sandwiched between some of the most outré music he has ever put to tape.

Throughout, Jlin's command over rhythm and texture make what could be too impenetrable a blast to hear.

WOW blurs the line between intentional and incidental noise to celebrate the sonic richness of everyday life and the ability of sound to trigger memories.

Moogmemory is a brave and rewarding left field adventure.

Boat is a triumphant debut album because it’s both familiar and authentic. And when you have a melodic impulse that shines as brightly as this, you can’t really go wrong.

Animai's guest vocals feel fresh on Curtain Call but wear a little thin four features in. Mostly, though, Flowdan flexes every inch of hard-won experience for a listen that's brutally, shamelessly exciting.

There's little on this album that would sound out of place on any of their other works, but GY!BE's apocalyptic vision remains as relevant and powerful as ever.

All in all, this is a welcome return for Dave Clarke and an album declaring his rightful place at the helm of electronica.

Teenaged at heart, but adult in mind and execution, Smitten combines sounds, moods and eras to present arguably Pale Waves' most complete album.

While the coherence of the record sometimes lends itself to monotony, the darker sonic undercurrent, coupled with a newly found more intricate and explorative sonority, has a sensation of quiet and dreamlike absorption.

Age of Indignation is a convincing and credible advance, and September Girls return with their songcraft finely honed.

Both blissful and bloody-minded, Ullages is raincoat-clad gift from goth heaven.

What follows is a 14-track reintroduction to everything that makes Les Savy Fav so unique: tightly-knit duelling guitars, an impactful rhythm section and frontman Tim Harrington's vociferous delivery and wordplay. Legendary Tippers is full of the ironic swagger we've come to expect, while Don't Mind Me finds room for rare vulnerability

His final statement cuts a broad swathe, taking in soul, pop and psychedelia across its 11 ambitious tracks. ... A fine songwriter has bid goodnight.

A late night journey of the highest order.

The methods have changed but Shadow's unorthodox sense of rhythm remains reassuringly familiar.

Even if subdued, light folk lullabies channel old-school Big Thief in this journey to homecoming and cosy familiarity.

While some may miss the band's more direct approach of previous records, tracks like Homo Sapien show Parquet Courts can still rock out.

Rather like Bruce Springsteen's lo-fi masterpiece Nebraska, Wolfe re-creates a sparseness (albeit with modern production methods) that shows off her best assets, doing more with less.

While the music itself never strays far from Lewis' usual anti-folk template (although In Certain Orders' spot-on replication of The Cult's mid-80s stadium rock sound is an interesting aside), there's a focus and commitment to make each of these songs sound the best they can. It's a plan that's worked and Bad Wiring is an electrifying addition to the Lewis canon.

An elevated level of bravado is present from the outset on La Luz’s third album, Floating Features.

Keepsake is an assured debut, but what it reveals is Pilbeam has actually not yet realised her best self. Keepsake is at its best when not trying too hard for substance, and rather leaning into soaring choruses, as on Without a Blush.