Every song on People Watching is carefully crafted to remain with the listener. The bittersweet lyrics intertwined with catchy heartland rock and seamless vocals make this album Fender’s best yet.

Horror is an impassioned journey, beautifully crafted and brightly euphoric.

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.

There's nothing raw here; this is a band settling into their status as Britain’s new rock innovators. There seems little doubt that this will be their most influential record, and it feels reasonable to place them alongside the likes of Soft Machine, XTC and Spirit of Eden-era Talk Talk.

The Attachment Theory highlight fascinating new aspects to Van Etten's craft, like the reflective prisms of precious stone. What is lost in cohesion is made up for by an exploratory freedom that the band revel in, hopping from wistful to explosive to triumphant.

It’s not groundbreaking but, like the first record, it’s a fucking good time.

Never Exhale is not for the faint of heart, and as its name suggests, is often a breathlessly intense, punishing listen, one filled with audible dynamism, sonic interest and gnarled heaviness.

From Appalachian folk song Golden Willow Tree to shape-note tunes like I'm On My Journey Home, Amidon preserves the melodic integrity of his source material while allowing foreign tones and textures to seep in.

Eusexua demands both surrender and celebration; it doesn't just embrace the thrust of commercial dance, it subsumes it into the chromatic, honed prism of twigs' artistry.

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.

Overall, The Bad Fire proves this legendary group can still produce moving, intelligent and vital work even as they embark on their fourth decade. As their lockdown-inspired success proved, Mogwai remain a guiding light in dark, troubling times.

The record proves to be slightly more interesting in its lyrical content than its musical content, but that’s more a compliment than a dig. It plays the softer than silk, pseudo-gospel rock style of boygenius with heart and emphatically hits every pacing beat on its checklist.

Lead single Neon Signs is a vibrant, flickering song about the breakdown of trust, while Irreversible Damage considers wild landscapes that are irrevocably changed by us but still the closest thing to wilderness we have.

Full Moon is an utter joy.

There are memorable lines galore if you can keep up with Lunny's runaway train delivery.

Perverts is Hayden Anhedönia’s first big step in establishing Ethel Cain as a character, a world and an idea, not just another ephemeral popstar pseudonym.

What’s remarkable about the album is how this disquiet slips in amongst some of the most purely beautiful music they’ve ever conjured.

Access All Areas is an assertively, confidently, confoundingly surface level record that succeeds in presenting their lead singles with various wigs on for 45 minutes and change.

[Redemption Love's] use of repetition is borderline annoying, the instrumental is completely uninteresting, making this track feel like just another piece of filler on an album that otherwise features some truly captivating songwriting. The title track, for example, is the Joan Armatrading we know and love, and then some: contemplative, wise and deliciously groovy.

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.

Nobody Loves You More has both the versatility and reflective quality of a ‘best of’ compilation, but one that simultaneously hints at there being plenty more highlights to come.

Small Changes seems to reach the listener’s ear with its patina built-in. A boundless effort that, while revelling in its musical referents – Sade, Gaye, Withers – stands tall, ceaselessly, beside them.

What sets Every Inch of Earth Pulsates apart from its predecessors, though, is the sheer urgency of the piece; it crackles with a nervous energy that will surely propel them to new heights.

These are the most maximalist songs he has put to tape in years, stretching from sub-one minute sound collages to 12-plus minute prose poems. Melodic indie sits close to a black metal scream by Elverum’s daughter, which a minute later segue’s into louche lounge rock. The intensely personal blends with the political and existential.

Songs of a Lost World is a true return to the desolate beauty of their 80s heyday.

Allison paints a full emotional landscape of this chapter of her life that’s as complexly nuanced as it is brilliantly captivating.

There’s plenty of the usual Amyl fare here, with some absolute stompers right out of the gate.

While it is enormous fun, there should be no expectation of a 'shock of the new'; it can feel, somewhat, like ConMan are treading water.