Minor Victories is frequently beautiful, and it’s the subtle application of the abrasive (on tracks such as Out To Sea) where this project really comes into its own; a few listens in, and captivation becomes its own reward.

Mostly, What Now is intent on being bigger and brasher than its predecessor, perhaps to avoid politely slipping into the background quite so easily.

It’s imperfect to be sure but that’s what debuts are all about. This is potential incarnate.

Eray’s opening haze burns out to reveal stark, staccato drums, an urgent, discordant Juno lead and almost Orbital-esque bassline, providing a fine touchpoint for Blue Hour and Earth and Elsewhere’s tech-purist soundscapes: think Aphex Twin’s Ambient Works II. They're a fine addition, though an indulgence amid an album of otherwise brilliance.

Albums have come at a brisk pace in the last few years, but there have been some diminishing returns as the Manchester troupe try to find the balance between the big hitters and the bit between their teeth.

Her zephyr-like voice acts as a guide through her mind, gentle yet assured, and the tone of her delivery illustrates the grey intricacies that shade her world: past, present and future.

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.

The gorgeous harmonies of Threaded Dances and the irresistible groove of Pareidolia provide particular highlights. The album as a whole, meanwhile, simmers with promise as to where Izenberg might head next; quietly, here, he’s crafted one of the summer’s finest records.

It may lack a real ‘big’ moment (akin to fan favourite track Big Dipper), but Warmduscher’s latest album oozes with variety, talented musicianship and their inimitably endearing weirdness.

Even at its most heartbreaking, embraced for a second as we die reminds us to inhale life and that clarity and connection, however brief, can still be found.

Yes, it’s different and experimental, but those risks mostly pay off, and the DNA of Dream Nails, the thing that makes them so special, remains at their core.

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.

Carpenter is at both her best and her worst when she leans into humour, which is threaded throughout the record. It’s a continuation of what’s made her so memorable in the past: the campy innuendo of Bed Chem’s 'come right on me… I mean camaraderie' or her viral 'have you ever tried this one?' sex position-asides on tour. Here, that same instinct bubbles up everywhere; sometimes brilliantly, sometimes too much.

It’s unlikely to bend too many fresh young minds to their cause, but nearly 40 years since the band first formed, that seems like a secondary concern. Some reservations, but good work all in.

All told, Death Song might be their finest hour.

While it might not be pushing too far beyond its own boundaries, No Rules Sandy makes for an enjoyable and affecting listen, whatever the weather.

Look At Us Now Dad is at its best when it treads further into experimental territory. ... Unfortunately, it can be frustrating that this isn’t emphasised more fully or frequently but still gives a glimpse into where Banoffee could ultimately head.

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

Thrashing Thru the Passion is a good album of fine songs, great lyrics and passionate playing – but ending with the playing-at-being-The-Clash Confusion In the Marketplace, after various nods to Dexys, E Street Band, Van Morrison, The Replacements, Boomtown Rats and more, its staccato block chords might be one homage too many.

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.

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.

The trio certainly thrash away confidently (and with no let-up), but it’s the tangents that offer the biggest thrills.

The band’s continuing experimentation with studio personnel, producers, influences, and ranges of emotion should be applauded. But a little more grit in the riffs would be nice.

Their obvious love of the Ramones’ weirder cuts is still alive and thrashing, and, admittedly, a lot of Adventure walks extremely familiar soil.

It’s a treat when a band that’s spent the better part of three decades crafting their sound and poetic sensibilities has all those endless hours of commitment come out crystal clear on their tenth record, and it's precisely what Idlewild have accomplished here.

Quit the Curse is a mature, confident debut.

Staying on theme for 40 uninterrupted minutes leaves you craving some lyrics, even a scrap, that make contact with the wider world.

There are some moments here that feel a bit too languid--but SASAMI is still the sound of an artist stepping into the limelight and forging their own distinctive sound.