It’s excellent, and filled with momentum, even if she could have gone a bit more ethereal on the 'ooh-aahs' at the end – we know she has it in her.

The record ultimately comes across as a series of experiments compared to the steely focus of their previous offerings, and perhaps in future will feel like a stepping stone record, but their sheer ability of songcraft means it never drags in its exploration.

The second album from Leschper’s Atlanta outfit Mothers, it reaffirms the band’s talent for making the familiar sound so strange.

The Art of Pretending to Swim is an album that will reveal itself after a few listens.

The album is certainly on the weirder end of the EE spectrum. ... Another great Everything Everything album.

It’s a richly realised record and one that is as powerful a statement in support of Case’s measured musical expertise as it is her long-established prowess as a lyric writer.

A vibrant, eclectic joy.

FEVEREATEN is an act of catharsis scaffolded by rage, disappointment and hope. At their most connected moments, Witch Fever are prophets of a kind, delivering the listener to a space where big things – noises and feelings alike – are welcome.

So What is a delightful addition to the 'I’m doing great, actually' canon, where barely concealed heartbreak begs to be felt under swaggering lyrics and Big Stick is a snarling powerhouse.

At Weddings shows Tomberlin tapping into a tentative inner strength, creating a soothing record that ends up resisting its self-doubts and reaches out its hand.

A work of emotional clarity and quiet resolve, The Passionate Ones is a timely reminder that tenderness can be its own form of resistance.

While the slippery compressed horns and strings snaking through a few tracks feel a little over-sanitised, they do match the sense of unease in Pearson’s lyrics reflecting on loss and pain, like shadows subtly bleeding into her kaleidoscopic soundscape.

Let’s Go Sunshine is a triumph for a band unafraid of pushing their sound, fusing together a variety of influences and flying the indie-pop flag high and proud for all to admire.

SASAMI’s rich authority holds together an album that’s pulling apart at the seams.

While nothing on Woman is quite as bombastic as when † was first unleashed on an unsuspecting public, there's plenty of intriguing stuff to chew on here with deep cuts such as Chorus and Heavy Metal, resulting in a terrific return from the French duo.

Where WU LYF once teetered on the cliff-edge, barking every utterance like they knew it might be their last, they're now sure-footed and comfortable, speaking with a conviction that can only come with experience.

Viagr aboys is a return to form and pushes the band’s strengths to the forefront. Although the album perhaps lacks tracks with the earworm qualities that past songs like Sports had, the band succeeds in creating a bizarre and entertaining listening experience.

Tenderly, expertly picked guitar supports the voice: Byrne doesn't so much sing as exhale and her unforced delivery serves to mesmerise.

Creative, life-affirming, funny and beautiful, Thumb World gets the thumbs up.

On Black Coffee, these two scratch out a new groove in a very old record, and it’s well worth listening.

Dare we say that Willner’s beats, moods and tempos are more consistent this time out, lending The Follower a much easier inroad on first listen.

Without doubt, Oxy Music honours Cameron’s skill as a storyteller, and his unique ability to embed some of the most outlandish lines into sanguine melodies.

Dulcet and sensitive, high on love and open to change, Nao expresses it all in vulnerable communion on Jupiter: the collapse, the calm, and the ascension.

Every track on sentiment feels like a late-night phone call from a close friend; when the album stops, you find yourself missing the voice on the other end.

Moments of despair are gorgeously balanced by tight, optimistic motifs that are dotted throughout the record.

Down By the Stream discusses bullying and abuse, while Blackpool Illuminations is a seven-minute track about Smith’s childhood at the iconic event. It’s structures like Where’s My Utopia? that make an album stand out, as does its sense of hope and perseverance, with the overall message that one’s struggles and emotions are valid.

The Ones Ahead carries a resolute message of hope for the world, backed up by Glenn-Copeland's evident wisdom.

The entire album is a triumphant showcase on how to master percussion, and the finished result is a dreamy 53 minutes that seems to end as quickly as it began. Stunning.