The results are surprisingly cohesive; Sky Larkin could often be boisterous to the point of verging on bombast, but this is a record that speaks to growing measure and maturity.

At times, you yearn for a little more grit among all the blissed-out euphoria, but ultimately the hooks are big enough to sink in and take hold.

There’s no upturning of the band’s musical blueprint, but their social conscience has earned them a third act, with ‘Nature Always Wins’ a potent way to open it.

There are a number of genuinely interesting pieces here that make this a very worthwhile addition to Bjork's discography.

Striking the right balance between slick and energetic, if a fuzzy but fun album’s what you’re after right now, look no further.

Frontwoman Lili Trifilio describes ‘Honeymoon’ as an ode to spontaneity, and it’s in certain abundance on an album that finds the Chicagoan outfit entering a state of pent-up rapture. The band roam without a care, sporadic laid-back moments gelled with raucous vitality - a sensitive chemistry which Beach Bunny absolutely nail.

It’s obvious they’re well-practiced at the craft, conjuring up 35 minutes of their trademark melancholy. It’s also an album of firsts for them - newly added keyboard player Marta Cikojevic adds a vital new layer. This in turn frees up vocalist Jane Penny to add a couple of flute solos on the record, which is a pleasant surprise. In fact, it’s the broadness of flavour on the album that is its main strength.

There is one very commendable thing about 'No Gods' that cannot be said of many of the revival bands of the moment though – Sharks seem almost entirely free from pretension; for that reason alone the album will garner respect and stand the test of time with punk fans.

Land Of CanAan's mix of warmth and sorrow sees Marques Toliver finally create an accomplished and whimsical sound that we only had glimpses of in other artists’ work.

'I Was A Cat From A Book' is a good album with top-class musicianship and production, that deserves your ear at least once even if folk is not your thing.

Amongst all that haze, it's clear that Krell has produced another gorgeous record that is incredibly open about love and loss.

While there could be a little more individuality on show to elevate Claud to their contemporaries’ level, ‘Super Monster’ shows promise of a burgeoning artist finding their own voice.

Not everything about ‘BUMMER’ is fully perfected just yet, but there’s plenty to feel upbeat about.

R. Cole Furlow has managed to piece together a jigsaw of DIY recording methods, thrashy punk, grungy distorted noise and glowing synths to brilliant effect.

For creating something as fresh and strong as this at album number eight, Portugal. The Man deserve to be applauded.

They’ve managed to balance brutality with a controlled ambience that takes nothing away from their distinctive character.

As a whole, this ambitious project can be an oblique listen but Acaster’s enthusiastic delight in experimental, underground music is on full display.

An elegiac, introverted release that feels more like a late-career meditation than the victory lap for "NFR!".

Notably looser is ‘Oblivion Overture’s classical, Fantasia-esque take on earlier track ‘Oblivion’, while ‘Morning Of My Life’ finds a softer side to Flemmons’s nasal vocals, accompanied by little more than soft plucks of guitar. When combined though, these opposing elements transform Jackal into a distinctly outright collection of songs.