The whole record contains this sense of purity, the songs sitting somewhere between hymns and nursery rhymes, not just in their simplicity but in the sense they seem to have always existed.

What sets Every Inch of Earth Pulsates apart from its predecessors, though, is the sheer urgency of the piece; it crackles with a nervous energy that will surely propel them to new heights.

As a whole this is a moving and interesting new project, proving that the end of a relationship can lead to something new and exciting.

Serengeti in particular is darkly captivating when portraying the self-obsessed Davy. ... Wolf’s typically lush backdrop meanwhile takes in sun-blurred psychedelicism and Pinback indie groove, all cut to a deft hip-hop pulse that’s both brightly hopeful and mournfully direct.

30 years since the release of Pure, Godflesh continue to sound as relevant as ever.

A challenging but rewarding album, Aviary continually grasps towards communication, exulting in common humanity amid societal ruptures.

There Is No Other is a similar, gentle masterpiece [to Beck's Morning Phase], but there's leather located behind the silk and the record packs an emotional punch.

The result is a suite of modern classical pieces that freewheel on orbits both real and imagined; a caul of percolating strings, woodwind and guitar, circumnavigating in loose patterns.

Loading all but two songs with features leads to a certain amount of tonal whiplash, but Brown has the chops, charisma and unbridled energy to mostly pull it off. Few of the featured performers can keep up with him, but the production is inspired and demonstrates how a newfound clarity and focus have elevated every aspect of his artistry.

There is poetry in silence, and with Vesper Sparrow, Ellis allows us to lean in and hear it.

Citizen of Glass delivers an ambitious and accomplished collection of pretty, ornate artefacts.

That there’s room for experimentation, too (see the spoken word outro to Graceless Kids, or the spacey closer Used to Be) speaks to her confidence. This is the record she wanted us to think California Nights was.

More importantly, though, it’s a different one; another good record in an outstanding discography and hard proof that a goodbye from Teenage Fanclub at this stage would be woefully premature.

I and II are both lean, economical, sweet and seemingly genuine. Both have a similar emotional tone but demonstrate some stylistic differences. The songs on II are a little slower, groovier and less manic.

A few wispy moments aside, there's a solid foundation of synthy techno-pop on Love Hallucination, as well as Lanza's greatest excursion yet in Marathon – a fizzing sex and sax romper that flows into the sultry, downtempo Double Time, a wonderful close to the album after a bit of a lull.

Significant Changes may well plunge you below the surface but by the time you reach final track Conclusion, tying in perfectly with the album's overriding scientific theme, we're ever confident that even deeper sounds are still to come from Jayda G.

Ace manages not to overwhelm its simply lovely melodies under sweeping layers of orchestration. With moments of sheer, sunlit beauty unfolding unexpectedly among the churning winds, Madison Cunningham shows us it’s well worth weathering the storm.

For those not attuned to Peggy’s ability to tap into the zeitgeist, All My Heroes Are Cornballs won’t provide a lyrical turning point. But as a showcase for his skills as a producer, it should win over even the most dyed in the wool critics.

Sticky harmonies and the running theme of longing for something more are just a few elements that make both GUV I and GUV II very fun, intriguing listens.

Dark Eyed Messenger explores themes of love, loss, nature and memory with the sort of understated evocativeness Crowley has made his own.

A raucous expression of love, TANGK is raw, vulnerable and inimitably IDLES.

It’s fitting BODEGA’s debut has all the essentials covered; wry wit, shrewd observations and a vision of art rock’s finest punk party. Like, listen, like, like.

The quintet may wear their influences on their sleeve, and pretty broadly at times, but there is such a fascinating range of them for such a young band that Permo can only be seen as a success, both as a record but also within a long line of great Glasgow bands.

The ex-Coral songwriter is unafraid to experiment on Yawn, and--aside from a few songs that lose a little of their immediacy due to similar tempos and an abundance of shoegaze guitar--the likes of Mither ('Is that your key in the door / Nothing else would mean more') showcase Ryder-Jones as one of the most distinctive, comforting and essential voices we have.

By committing to one idea Maus has found a focal point around which to craft his own musical identity.

Heavy Like a Headache feels like the natural next step and successor to Infancy and Happy Days! Expanding on both to enhance their playfully experimental and yet confident, brooding sound, it strengthens their status as one of Scotland’s most exciting bands.

Chaos often ensues within oneself following heartbreak, and Maine captures that devastating chaos beautifully on Ricky Music, sometimes too accurately. It’s not always an easy listen, but it’s certainly a very relatable one.

Her talents won’t be a surprise to anyone familiar with her band, but laid bare like this, her imagination is startling and singular.