This record, like the band behind it, repeatedly and successfully refuses genrefication in its ambitiousness.

It’s a jubilant and sweet experience. The least conceptually bound Zauner has been, she moves confidently through a space befitting of the multi-hyphenate artist she has become.

With its main influences taken from the distant past, Medieval Femme has an inherently Gothic feel; its mystical sounds transporting the listener through the rich, vibrant history of Arabic music and culture.

Jumping between instrumentation and production styles, Flora Fauna feels a little disjointed at times, but overall this only serves to add to the feeling of rebirth.

If the range of CHAI's capabilities was ever in doubt, this album is the answer, offering unexpected turns and new ideas, incorporating them into their kaleidoscopic swirl of noise with aplomb.

This is the group’s masterwork to date, a thrillingly rich tapestry that combines passionate reflections on the meaning of black power, sharpened in particular by last summer’s Black Lives Matter protests, with sonic love letters to black culture past and present.

It's sombre tracks like The Laughing Man where Clark carves deep into the family tree.

When Bright Green Field follows in the footsteps of their best track The Cleaner – supercharging the banal and mundane with vigour and purpose – it rips, mixing genres like straight-ahead indie-rock with funk and jazz, and exploring ambient and textural backdrops which make their now-home Warp apt.

Teenage Fanclub sound refreshed, renewed and remarkably like themselves as Endless Arcade reveals an old group with some new tricks sounding in rude health.

Although Flat White Moon is a serene glance into the past it unfortunately lacks the innovation that makes what inspired it so great, and would be much improved if we could hear Field Music’s individual voice alongside their musical heroes.

On G_d's Pee AT STATE'S END! Godspeed has created a perfect soundtrack for these strange times.

The band’s impressive interplay and energy make these songs wonderfully replayable, to the point where the lyrics feel melodic and singalong worthy.

Fir Wave should represent a clash of styles – between Peel’s 21st-century toolkit and Derbyshire’s early-70s equivalent – but instead, there’s a deep sense that the two women, generations apart, are in tandem.

Erez’s songwriting is clever, nuanced and often packed with wit. On KIDS she shows how far she's come in crafting her sound in just a few short years.

Despite its name, there’s nothing ambiguous about Tune-Yards’ return. They’re back with bombast and the permission to take a breather if it all gets too much.

These duets are, of course, not standards. The production is exceptionally murky – mostly collaborators move through the dark, uncertain world Stewart manifests with his Scott Walker-like crooning of glossolalia.

Arab Strap’s first studio album together since 2005’s The Last Romance is marked by a feeling of not quite-ness; everything’s there but it just doesn’t quite click into its potential at many points. A good half of the record treads in similar ground to opener and comeback single The Turning of Our Bones; drum machines, faintly angular guitar arpeggios and Moffat’s largely spoken dissection of middle age.

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.

A well-crafted album.

It's a continuation of their bombastic instrumental rock, adding enough new experiments to keep things interesting, but staying close enough to their well-hewn sound to ensure a cosy familiarity.

The band’s latest effort doesn’t fully shrug off the creeping sense of familiarity, but for the first time marks a real step forward. Glowing In the Dark’s most successful moments are those that stray the farthest from the band’s blueprint of sun-washed guitars and cascading vocal harmonies.

TYRON’s second half is undoubtedly more interesting, demonstrating a maturity to his lyrical ability. While it does feel like a forced attempt to put things right, on TYRON slowthai is allowed the time for self-reflection that cancel culture often denies.

Starting where Enclave left off, Guerilla succeeds in its aim of delivering an aural interpretation of both the physical and emotional trauma attached to conflict.

The Prettiest Curse is their finest work to date – full of assurance and poise, and still an absolute riot.

Her career to date might have been bolstered by a stellar string of friends but there’s one thing that the multi-instrumentalist is more than capable of handling herself – the artful knack for sincere songwriting.