Three albums in, they’ve attained a mastery of their craft that’s a joy to behold.

It’s a smooth ride for the most part but sometimes you just wish whoever's driving this thing would find a decent station and stick with it.

Constance’s empathy is radiant as her lyrics are brought to the fore by way of a minimal guitar-led backing. Her emotional intellect is demonstrated through her articulation of mental health and personal struggles.

Its exceptional use of Radio Serial-like synth wobbles and pulses paint a vivid vision of mind-bending power and the destruction left in its wake; amplified by gorgeously dramatic bursts of symphony and chorus. A real gem.

Permanent Damage is a thoroughly impressive and self-aware debut from an artist who is unafraid to wrestle with feelings of loneliness, alienation, and self-destructive tendencies out in the open.

Name Your Sorrow sees band-wide experimentation, instrument swapping, and post-production revision, resulting in a colourful, varied record.

The vulnerable romance of Falling In Love Again and tactile tenderness of Don’t Drown Me Out make for welcome detours in a collection of songs that is led so intensely by strut-worthy rhythms and that raw bad-boy edge.

It ["Black Orpheus"] is powerful, but in truth, it's the one track that doesn't feel unfinished, as Barnes' voice finally rises above the overwhelming mix that he's buried under throughout the album.

An enjoyable if low-key listen that consolidates rather than shakes Stables’ current status.

It feels like a cathartic release, where she faces her fear of disasters head-on – through floods, tornadoes and burning cars – and she firmly places us within that world right alongside her.

The Rat Road is a wondrous and playful musical sketchbook that takes the SBTRKT sonic blueprint and builds something lasting.

Sleater-Kinney’s decade-spanning songwriting style feels the same. Give us the electrifying assault and brutal guitar tones to fill those tiny cracks now present in our hearts. Give us a little more rope.

On Want You to Know she assures us that 'beneath the layers there is simplicity'. Despite this, there's always an emotional distance created by screens and technology, with tongue-in-cheek lyrics.

Portrait of My Heart channels and exudes a wild assortment of sonic influences – an approach which results in the most honest and entrancing SPELLLING record to date.art

Moments of rock brilliance are scarce. Your Take On, with dissonant 60s-esque guitars and talk-singing, is a jolt from whisper-soft vocals surrounding 2022’s Inner World Peace. Later tracks see development sacrificed for quantity. Despite treading familiar territory, Different Talking’s soothing melodies are tailor-made to accompany life's quiet corners.

On its own merit, Part 1 is yet another banger-laden album, from an indie-rock machine who are now firmly established as one of the most consistent in their scene.

More than simply aging gracefully, A Bit of Previous suggests Belle and Sebastian still have enough hooks for several lifetimes.

It’s certainly an assured debut, impeccably written and produced in a way that captures the singer as both youthful and soulful. Her voice is light and airy, with her distinctive vowel sounds giving a fresh spin to even the simplest of lyrics.

Dive in wholeheartedly; you’ll be happy to float in the outrageously catchy Whiteout Conditions for a long time to come.

On The Seduction of Kansas they thrillingly disrobe of any of the negative connotations that might, usually wrongly, come along with that phrase “political punks”; namely extreme directness and a sense of lacking musicality, as the band explores new identities both narratively and stylistically.

Laus bravely embraces her imagined world through not only sonic exploration but its successful discovery too. She soars through a variety of tones, including lullaby-like ballads, jittery jazz-infused pop, moving midwest emo and, of course, prickly post-rock.

Their control is immaculate, their romanticism timeless.

Despite the seriousness of the lyrics, I can feel you creep into my private life manages to remain an uplifting album, with a collection of intricately-crafted pop songs that tackle a range of important current issues.

A record that speaks to notions of presence and absence, and the impermanence that underpins all things.

Much of the album remains true (or close enough) to the original arrangements, and you get a real sense that Oldham's singing these songs simply because he loves them and thinks other people should too. While that doesn't make for essential listening, it undoubtedly makes for an enjoyable and almost comforting experience.

At times perhaps overly conceptual--Honeymooning Alone needlessly hammers the point home--The Bride also lacks more standout cuts to truly make it soar. There’s nevertheless plenty to appreciate here; just don’t expect much in the way of wedding playlist material.

Like any good night out Fine Art has its ups and downs, it can be deep, it can be controversial, but in the long run, it's a good laugh and a thumping good time.

TOY continue to put their own unique spin on psychedelia with Happy in the Hollow, and it’s one that clearly works, but ultimately the record lacks in any kind of urgency and doesn’t push much further on what the band have already achieved with previous albums.