More Rain finds Ward playing genre bingo with generally enjoyable results, including a tasteful homage to T. Rex and a well-handled country number about his Christian faith.

VI is undoubtedly You Me At Six's poppiest effort yet complete with funky, melodic beats and synths along with relatable themes of relationships, feelings and late night adventures that perfectly straddles the line between pop and rock.

Ultimately, although it’s more immediate than their 2016 record, what you gain from We Are Sent Here By History will be dictated by how much you connect with its musical vision. Sink into its groove though and it’s an album that presents a fascinating societal commentary.

God Games provides glimpses of what makes The Kills so compelling, but is unlikely to convert many new listeners to the cause.

Plenty of highlights for fans of minimalism can be found here--choose, for instance, from the frosty, shimmering synth and compelling tempo of Scido, or the deliciously dark, skittish Sleep Chamber. There's a slight hiccup with Balance, which has a throwaway feel, and Some Cats is an unremarkable album midpoint, but Kowton's maturity rears its reliable head again amongst Loops 1's spare arrangement, and Shots Fired is a trancey album closer.

New Me, Same Us finds its vigour in the sweet spot between pure pop and the band’s more adventurous tendencies. When an emotionally-charged, jazz-inspired piano climax cuts through the otherwise smooth veneer of New Fiction or when Where You Belong leans fully into a part-funk, part-R'n'B groove, the band really hit their stride. It’s just a shame there are some stumbles on the way.

Overall, Space Gun gives hope for the continuing future of a band that’s already died twice. While there’s a few bumps here and there, this is the sound of a group drunk off its own energy and excited to be alive.

This is a band on a journey. Modern English Decoration nods to its predecessor, certainly, but you can hear the way in which the original duo has consolidated their appeal as a five-piece. These guys have got promise written all over them.

At its most delicate points, slow climbing chord progressions carry as much emotion as her lyrics, and at its lowest, though sparse, carry them where they feel overly simple.

Williams’ songwriting approach, while accomplished and still urgent, occasionally loses some of its ferocity and connection to the theme by playing to his game a bit too much; relying on that trademark electro-rock production instead of mutating contemporary trap and noise feels like a slight misstep.

Jonny arrives after a decade as the same well-paced and tender exercise in running in place, exactly where they always leave off.

This early run of songs is perfectly enjoyable and the lyrics play superbly with country clichés, but rarely does it reach towards the quality we know the band to be capable. That is until lead single Gentleman turns up and gives the album the kick it needs.

Thankfully, on third full-length Something’s Changed Rose seems to have dispensed with an ardent desire to please. She’s embraced her inner Beth Orton, and she’s ploughing her own furrow.

This time around, it's the longer tracks that hit the hardest.

There’s pressure to satisfy. Largely, it does – especially when there’s a spark with his songwriting partners. Rochelle Jordan brings heat to her pair of dancefloor-ready offerings. Still, with Charlotte Day Wilson, balances polish and raw performance. KAYTRANADA gets fantastic performances out of Anderson .Paak and Childish Gambino, who are given extravagant tracks to work with. Other moments are stilted.

Ideas disintegrate before developing, awkwardly blending into the next, leading to occasionally aimless moments. At its best, though, it’s a riveting and subtle addition to an already impressive discography.

Generally speaking, while it's a solid return for the group, it's likely to leave some wanting more, aching for some real catharsis or a change of gear here and there.

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.

The true standout of the EP is Fickle Season. ... The other three tracks are inoffensive but somewhat forgettable

Dead Channel Sky’s brilliance is front-loaded. .... This vitality soon becomes mired in conceptual slog – testament that clipping. are capable of greatness but struggle to stay consistently great.

Hannigan's oeuvre requires patience and focus, and while much of this new collection is dependent on tone and texture to connect, eventually deeper qualties shine through.

It’s not teeming with future classics, but it’s their most solid and replayable record since Brain Thrust Mastery.

Young’s jump into pastures new feels significant throughout, coupled with lyrical themes of escapism and adventurous spirit. As such, the record feels purposely detached from much of their discography up until this point. That said, the band’s long championed easy-breezy, summer indie-rock still exists in bursts.

While RITUAL possesses Hopkins' trademark blend of dark vs light, it feels slight compared to his prior work, and so fails to reach his former glories.

It’s an album of shattered dreams and primary colours--“Where’s your sense of humour?” decries Blunderland--and more than once it isn’t obvious if the band are laughing with us or (in the nicest possible way) at us.

Moments help prevent Dizzy Spells from becoming one-note by putting a different spin on the happy-sad formula, keeping it a bright yet bittersweet full-length exploration of Clifford’s new sonic world.

Ultimately, at a drone-heavy run-time of over an hour, Dear isn't much of a fun prospect for a summer album.

What Marauder provides is a top-up of Interpol for the band’s most dedicated fans, but nothing that approaches their former glory.