A singular, precise, and continually inviting experience, Clean finds Soccer Mommy reaching a new level of artistry, using her earlier releases as a bedrock to support her ambitions. A marvellous debut, it’s truly something to savour.

Call The Comet doesn’t quite reach the heights it sets out to, as the execution on some tracks falls flat despite some interesting ideas. That being said, there are enough moments throughout the record to remind you that the Marr magic is alive and well.

HOLY FVCK serves as brilliant proof of Lovato’s hard rock capabilities. Lovato suits hard rock, those vocals absolutely gorgeous when paired with a sturdy burst of heavy soundscapes. While Lovato can knock out a summer-ready banger, it’s equally as thrilling to see them lurking in the shadows.

It again boasts a plethora of instruments and will likely remind fans why Belle and Sebastian are so great at what they do.

A bold, tremulous feat, Sucker Punch will leave you floored.

It’s a fairly middle-of-the-road indie record. It could do with a little more depth, a little more humanity.

The variations aren’t as wild, but that doesn’t mean you don’t notice them, the Glasgow zeitgeist keeping things moving as a supreme technician (ever the perfectionist, this final cut apparently took five takes).

It’s an unabashed pop record that anyone should be proud to play at full volume.

‘The Land, The Water, The Sky’ is an album to savour, to go back to again and again to either get a greater understanding of what she is imparting and to find a new melody you missed the last time.

There is a heady optimism to the album. Instead of claustrophobic soundscapes, Lake has built elegant drones around pockets of space that allow the songs, and listener, to breathe.

‘World Record’ is a thrilling ride through some admittedly familiar pastures. But then, perhaps that simply underlines how potent Neil Young remains, and the increasing resonance of his eco-politics.

It's a more mature record, one that keeps the energy of its predecessor and filters it through new sonic filters. Thanks to its subtle mix of styles there's a timeless quality, the sound of freethinkers finding their feet in a very weird time. Get on it.

At 13 tracks there is perhaps a little weight that could be shed – at times, ‘Never Let Me Go’ can feel a little indulgent, lacking a certain concise nature, with ‘This Is What You Wanted’ sounding like a flat cousin of Coldplay’s ‘Clocks’. That said, when it hits ‘Never Let Me Go’ is a reminder of how thrilling, and genuinely intoxicating Placebo can be.

All the usual suspects are in place as you would suspect from a band with, let's be honest, not that many hits of the great variety.

While his distinctive voice and keening melodies are as enchanting as ever, Wilson has added a cinematic heft that neatly avoids being saccharine.

The beautifully crafted fuzzy rock record has sonic concoctions that could have easily been taken from the best 90s and 2000s teen movies; not only does it serve its purpose of self-acceptance and healing, but it also further solidifies Laus’ place in the industry as a formidable, agenda-setting songwriter.

Yet American Football sounds like nothing that’s come in the last 16 years, or the last two for that matter.

Successful forays into synth-disco (‘Look At Your Hands’), slo-mo new wave (‘Coast To Coast’) and hymnal R&B (‘Home’) rescue a uniquely energetic, smart record in danger of over-saturation.

Bloom oozes simplicity, honesty and contentness. It will be a welcome sound of summer for 'Teen Dream' fans, but don't expect anything too radical.

He seems to explore his craft, experimenting with electronic instruments throughout each track, yet stays close to home.

Packed with personality and innovative sounds, this is an incredibly strong release.

The Bride is a stellar soundtrack to the complexities of womanhood within the institution of marriage, a triumph of raw intensity.

[Seeds is] not up there with its makers’ very best releases, but a welcome indication that they still absolutely mean business.

Ape in Pink Marble doesn’t do anything innovative because it doesn’t really have to. So go ahead, Devendra, celebrate.

Tessa Murray's voice is gorgeously fragile and the backdrop will lift you out of encroaching grim winter evenings.

Fionn’s great rocking out and full of energy, but here, just voice and guitar for most, he’s just so listenable.

This is a beautifully blissed-out record, coloured by minimal rhythms and Lewis Rainsbury’s isolated vocals.

‘Girls – The 2nd Mini Album’ demonstrates an advancement of aespa as artists. It has solidified the group’s creative intentions whilst also illustrating their ability at owning other concepts.