Featuring contributions from Jody Stephens (Big Star) and Brian and Michael's father Ronnie D’Addario, Go To School is a true beauty and a classic in its own right.

Hyacinth sees a strong progression in production values from its predeccesor. While there's a widening of Spinning Coin's scope here, there's still a tendancy to stick to a familiar formula across the album. Thankfully, they do it well.

Snow Angel is a well-calibrated blend of ballads and upbeat pop; self-contained but not unambitious. Not dealing in grand epiphanic or showstopping moments but rather steadier, more subdued honesty, Rapp jettisons the debut pop album rule book.

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

he album could be considered experimental in its dizzy melodies and introspective topics. The entirety of Black Rainbow Sound delves into an unknown use of electronica; combined with indie-rock drum beats and guitar riffs, Menace Beach maintain that depth and power of a solid electro-indie album.

Crab Day, like its predecessor (the staggering Mug Museum), is underpinned by a bold stoicism far removed from calculable, sweetened melodics. Yet, when it really sparks, as on the mesmerising coda of eight-minute closer What's Not Mine or We Might Revolve (a spare, insistent pummel that recalls the fidgety formalism of early Throwing Muses), it yields an emotional resonance that is difficult to deny and impossible to resist.

Glossy and calculating, Careless People rarely pulls back.

Weather sees Hansen and co teasing out some new strands to their winning formula of blissful electronics. At just eight low-stress tracks, this isn't so much a headlong dash for horizons new as it is a gentle evolution, but you could do far worse than kick back and enjoy the weather.

These eight tracks are so deliberate and self-contained that you almost wish for something to puncture their protective casing, for Burns to let her agile voice soar. But Argonauta is an album still forming questions, giving no answers.

The album freewheels through soundscapes borrowed from pop, trap, balearic house and old-fashioned balladry with irrepressible joy.

There’s nothing wrong whatsoever with How Do You Spell Heaven, it’s just that Pollard works best when walking the wire between fucked-up weirdness and acts of songwriting genius, and wobbling either side. Here he’s looking towards neither heaven nor hell; simply trudging (albeit stylishly) on terra firma.

Closing track aside, everything else on Loud Patterns is threaded through with intriguing noises and the kind of urgency you can only get from a live band, making for quite a unique sounding dance record which sits comfortably on the shelf alongside the likes of Caribou and Gold Panda.

It’s Robinson’s most intimate album yet.

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.

An elevated level of bravado is present from the outset on La Luz’s third album, Floating Features.

If Apocalipstick saw Creevy swept up in mainstream music headlines, Stuffed & Ready (much like a well-seasoned Thanksgiving dinner) is self-satisfying, turning inwards on her own state rather than the United kind.

While still evoking a sense of auditory adventure on tracks such as The Deku Tree or instrumental interlude Off World Colony, this more sedate middle section can feel slightly too mid-tempo. Despite this, the duo's sonic voyages make it worthwhile to sink into Bamboo’s realm.

Throughout, the group's tried-and-true, gleaming synth-pop palette is flecked with fresh sonic ambition, particularly on slow-burning epics Corner of My Eye and The Sickness. At the centre of it all remains Herring’s fabulously expressive voice, tailor-made to spin tales of heartache.

A gorgeous microcosm of sound, Love Heart Cheat Code is a perfect accompaniment for hazy summer days and nights.

The result is a more energetic pop sound and a bright 13-track album designed for live performance. There are shades of noughties indie twee in Ozard’s conversational storytelling style.

While Biig Piig clearly knows what sticks and what doesn’t in terms of easy listening, the album does demonstrate the artist’s desire to explore new sounds, but 11:11 is careful not to rock the boat, often playing it safe with the majority of its runtime.

cannibal world’s breakbeats, a not unfamiliar sound for Nothing, brings them into the lineage of the bands – TAGABOW, forever ☆ – doing this well (better, even) now. However, the record cocoons into the kind of soft strummed ballads that a young Neil Halstead would write about pain and heartbreak in a Welsh cottage.

Real Power is a lot of fun, though at points it seems to sacrifice bite in favour of a certain kind of generic polish.

Quite honestly it's a difficult record to find fault with, as each listen offers a slightly different interpretation. A creative triumph for any artist, Deleter is well-rounded and a welcome return for the Toronto outfit.

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.

Painting a portrait of life in Montreal, one hand... is narrated as much by hurt as it is by hope, and demonstrates Levy’s ability to develop her artistry without letting go of the colouring of sound that renders her music hers.

Jesu’s crunching, industrial guitar, subtle drum machines and harmonies compliment Kozelek’s meandering, caustic tales differently to past collaborators such as The Album Leaf and Desertshore, but it works just as well, helped by star turns from the likes of Low and Will Oldham.

The merry, danceable energy never lets up, from the meandering guitar work of Hi! to the album’s rousing finale, Let Me Cook You. Talkie Talkie sees Los Bitchos return with more polished, vivid and delightfully camp soundscapes.