Even in Arcadia offers a window into the band’s psyche, while keeping audiences at arm’s length while inviting them to lose themselves in its emotional depths.

For newcomers, it may feel too uniform to stand out. But for longtime fans, Not For Lack of Trying offers cosy autumnal listening and a continued exploration of dodie’s style.

He’s skilled enough to make it sound agile and purposeful. You’ve heard the individual parts before though, with more range, colour, and taste. It’s Alright Between Us… will do its job, but on the cheap.

Despite a relatively concise tracklist of ten songs, at points the 45-minute runtime seems to drag on, giving the album a sense of heaviness. Not dissimilar ambient sounds wash into one another – overall perhaps a more pared-down curation could better highlight the album’s strengths.

The record is an interesting proposition, and one that, while never quite hitting the nail on the head of what it could be, still offers glimpses of what both artists are capable of.

Which isn’t to say that she gets everything right--the new arrangements of both Killer and Georgia lack the immediacy of their originally released versions--but when she does, you can see her making a long career of this.

Unlikely as it is to bust them out of the indie ghettoes, Coldharbourstores’ unexpected return is a very lovely thing indeed.

Apart from a few tonal blips (Taken By The Tide may well be a smuggled-in Band of Horses track, and 1985’s piano ballad proves an idling mid-point), Curve... is a remarkably slick experience.

They are perfect encapsulations of the snarky, fuck-you attitude that has been suppressed in the last couple of Wavves releases, but they don't have the scrappy, lo-fi charm that endeared fans to the band seven or eight years ago.

Ever the musical misfits, Blood Red Shoes’ righteous spirit remains even if their sound is a shape-shifting entity.

There isn’t much depth to the lyrics. This album is about feel. ... For once this is a Ladytron album to listen to in the sunshine.

The xx are moving forward, but they don’t know quite where they’re headed.

Overt beats don’t appear until the sixth stanza, bass conspicuous by its absence pretty much throughout, yet whilst the themes can occasionally run away with themselves through lack of definite direction or concrete dénouement, 3.5 Degrees remains an accomplished debut.

While stylistically The War on Drugs have never released anything revolutionary, A Deeper Understanding lacks that spark that their previous releases had, which could well be due in part to their move to a new major label home.

Marble Skies finds difficulty in consolidating each defining element into a smooth blend, leading to a record that’s bookended by heart-stopping tracks with a frustratingly stodgy middle passage.

Beautiful People Will Ruin Your Life is the sound of a band maturing and evolving, having come a long way from their first meeting in Liverpool. Now that they're 15 years and four albums in they know what works, and still have an ear for a catchy melody.

Alpha Zulu is everything a Phoenix album has been already: slick, silly, maximalist. ... They mine nostalgia for call-backs (Tonight); find comedy in impending doom (Alpha Zulu). But the boys are ageing and, separated initially by lockdown, an emotional core burned a hole in the centre of this new record instead of a six-minute space-bound instrumental.

Baker doesn’t shy away from the weight of depression, but depending on your emotional state, the album is either cathartic or overbearing.

Ultimately, though, Close It Quietly doesn’t sound particularly exciting or new, but it certainly succeeds at its intentions – it’s a triumphant album for people that find catharsis in indie pop’s niceness.

Overall, Learning How to Live and Let Go fluctuates in tone. But this doesn’t negate the clear effort the band have put into making this record a lot more experimental than any of their previous releases, and it’s still chock full of heart and vulnerability in its lyrical content.

Compassion may not feel complete yet, but it’s an exciting portent of what may yet come.

However, for as many tunes that feel dynamic in their constant morphing there are a good few that never quite find their way beyond a bunch of interesting noises.

Barbara... is less massive comeback than slight return.

Despite its title, New Ways doesn’t break boundaries or really see Vollebekk break out of his typecast. But it is nonetheless a nice, warm album.

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.

Despite the obvious Tame Impala similarities, sir Was manages to carve out his own brand of psychedelic pop on Digging A Tunnel, leaning more towards funk, soul and hip-hop than classic psych-rock. Plus, you’ve got to hand it to him for trying to make bagpipes happen.

Whilst it's good Buffalo Tom are still around, and while there are enough moments that recall the highs of their vintage years, there is also a corresponding sense in which we and they have all gotten a little bit older and perhaps, just perhaps, they're not quite what they once were.

These two tracks [This Time and Loving] crest an emotional peak that isn’t quite matched elsewhere.