Over the course of their unabashedly DIY-sounding debut – whether that sound is merely an invocation rather than authentic, you can’t deny that it nails it – these songs walk the same line of art rock as Goo and Dirty-era Sonic Youth.

The album as a whole is a strong argument for Olsen being her generation’s finest songwriter.

Heart Under is an ear-piercing piece of intuitively crafted work.

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

Ultimately, while there are a few moments that are undeniably hypnotic, the album as a whole feels just slightly less full in scope and vision than her previous bodies of work.

Some Nights I Dream of Doors feels like a real expression of Umoh’s wide-ranging influences and it succeeds in showcasing his diverse vocal range. However, at times it feels restrained and, for an artist as unique as Umoh, it feels like a missed opportunity.

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.

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

Thank Me Later and Burning Bridges both wade through the sentiment of leaving on a high rather than trying to scale a sinking ship. While feel-good anthem Mirror is the body confidence balm we all need a dash of this summer. The record isn’t all righteous pop bangers though. There are some tear-jerking numbers that even Adele would be proud of (see: Last To Know and High Note).

It’s a record filled with trite sentiments and well-trodden musical ideas (or in some cases, badly-trodden).

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.

On i don’t know…, the intentionality and splendour that began to blossom on her 2020 EP Projections are now fully in bloom. Tomberlin holds onto the sonic space that allows her delicate vocals to fly but introduces a host of new sounds, too – pedal steel guitars, brushed percussion, woodwind, twinkling piano.

These lullaby-like compositions mask a quiet rage throughout, reflecting the internal discord of those who live with abuse. ... Ever the documentarian of devastating emotions, Joseph's latest release sounds newly communal, with a sense of gathering closer those who share the same pain.

There's a great album in Fontaines D.C., and Skinty Fia takes them one step closer.

Four talented youngsters from LA of Asian and Latinx descent, wearing their influences on their sleeves, have produced a light-of-foot album of fun riffs and effectively simple ideas.

Kae Tempest fully opens up on This Line Is a Curve and it continues to blossom with every listen.

Compared to Tillman’s previous releases as Father John Misty, Chloë and the Next 20th Century feels like an immense achievement musically, while not wholly dropping the cynical and whimsical elements of his songwriting.

When it feels like life’s moving too fast, and that things are starting to get away from you, it doesn’t hurt to revel in the small things. Across their debut album, Wet Leg do exactly that and it makes those precious moments of nothingness feel that little bit more special.

Unlearning is a daring and ambitious debut from a band who aren't afraid to take risks in order to achieve their vision, and for Walt Disco it’s a risk that’s paid off.

The madcap experience of Warmduscher is still probably best on the stage, but this album goes some way to proving that given a little time to let their ideas gestate, they can actually produce something that sounds good on the stereo, as well as the back room of a pub.

TILT is definitely missing the cool, camp interjections of Sugar Bones that were more prominent on their debut. Still, Conman has delivered yet another non-stop album that is guaranteed to raise the bar of your next party.

With The Jacket, Widowspeak prove once again they can find the irresistible spot between timeless and fresh. It might not be littered with huge, unforgettable moments, but the spell it casts lingers long after the music has finished.

Heavy Like a Headache feels like the natural next step and successor to Infancy and Happy Days! Expanding on both to enhance their playfully experimental and yet confident, brooding sound, it strengthens their status as one of Scotland’s most exciting bands.

Running With the Hurricane is the sound of a band who have hunkered down at home and found calm at their core. They might no longer be storming the patriarchy with this contemplative collection but Camp Cope has pitched their spot for a bright future, regardless.

The vocal melodies exuded on the album are irresistible. Paired with lush instrumentation, Sink Into Me is in a word, gorgeous, and the perfect soundtrack for a meander in the sunshine or a mellow morning in bed.

Ultimately, like the Henry Moore sculptures she mentions near the album’s end, Harding’s songs can be as mundanely lifelike from afar as they are strangely alien up close.

The album feels as much a personal exploration of Adigéry’s own heritage and life experiences as it does a commentary on social attitudes. But, most importantly, it establishes Adigéry and Pupul as a real force to be reckoned with.

Without doubt, Oxy Music honours Cameron’s skill as a storyteller, and his unique ability to embed some of the most outlandish lines into sanguine melodies.