Ultimately, a record is never going to change the world, but FOREVERANDEVERNOMORE might finally put an end to the fallacy of Eno as the “non-musician”.

Building Something Beautiful For Me is a gentler listen by comparison [to 2019's For You and I], with some anger still there – just distilled into something more gleaming and triumphant.

It’s the Arkestra’s second outing without their titular leader, who relocated to Saturn twenty-seven years ago, and like 2020’s Swirling, this does justice to his remarkable legacy and is a fine addition to an unfathomably vast discography.

This commitment to inducing a full-body response, not merely the tap of a foot at a bus stop, has a lambent ferocity that Hyper-Dimensional Expansion Beam doubles down on.

Tough Baby is dedicated to the idea that if you cut out the middleman and leave a group of people to their own devices – giving them uninhibited, creative freedom – it can yield profound results, and in the case of Crack Cloud, timely masterpieces rooted in hope rather than despair.

The album has everything you expect from Suede: Brett Anderson’s astonishing voice, those pulsing baselines, the violins, the rangy impossible guitars, and the powerful drums. But it’s also a more mainstream record than they have made in years. Without losing what is wonderfully difficult about their music, they are bringing us what they are best at and offering something for people new to the band.

There’s a lot to unpick here. The Mars Volta may well be one to grow on you. This is a record that can make you think a thousand things at once. But if you’re willing to sit and savour the taste before digesting, you’ll understand why it took so long to ferment.

Gurnsey here bounces back with a project nostalgic of the late 80s and early 90s club scene – a very characteristic return for a most uncharacteristic artist.

Sarah Davachi is delving deep into the intervals between these states, to the place where emotion dwells, and is holding us down there until we can feel it roaring through our lungs. Just don’t forget to breathe.

Despite the wallowing, there is a fundamental Hot Chippyness to the music that, though appropriately reflective of the record’s moribund themes, is still, in its own sometimes quiet, sometimes propulsive way, utterly gorgeous.

Although Souvenirs is a daring record, there is a feeling that the Pale Blue Eyes’ fantastic spacecraft is suspended in the air before the real take-off. Perhaps, they are about to define the direction for the creative journey. Would be great to see them reaching for upper regions of space.

Escapology is eccentric, full of twists and turns, screechy, glitchy and ambitious – undoubtedly a rare breed. After you complete the final mission, you are finally immersed in the artificial soundscape of closer ‘T-Divine’. The closing credits roll in. You have managed to escape and survive. Ultimately though, the listening experience does not transport me into a hyperstitional future. I feel more catapulted into an alternative past, which was polluted with fragments and ideas from the future we are inhabiting at the moment.

It’s not just a mongrel mesh of genres. It’s stretching and cracking them into new shapes, creating something fresh, hyperactive, and utterly pop.

Mint Chip is full of misdirection but never feels contrived. ... Their songs are tightly composed, danceable streams of consciousness.

Oneida prove once again that they can change course anytime they want, and the journey will remain exciting.

Despite the variety of genres and diversity of contributions, Thyrsis of Etna has a distinct sonic flavour. There is attention to balance. Each track has a cocoon-like sound that soothes and sedates a listener. ... Regardless of the names and history, the music has enough to keep one intrigued – or at least entertained.

If arguably too one-note to constitute a stone-cold triumph, the album serves as a charming side-bar to two stellar careers. It is a collaboration that soars without ever quite getting so close to the sun that its wings start to melt.

This is a solid pop album and Nayeon’s charms shine. Her voice, visuals, and sweet attitude deliver a feel-good tracklist full of fluffiness and catchy hooks, but it’s also clear that her own colour still waits to be found.

NOT TiGHT is a solid showcase of the pair’s considerable chemistry.

Riderless Horse is quietly redemptive rather than world-razingly cathartic, and despite all the mental and emotional hardship she’s survived, Nastasia remains even-handed and philosophical.

There’s a cohesion and a vigour to Tick Tick Tick that may make it Mallinder’s finest and most enjoyable record in at least ten years (take a bow Hey Rube’s criminally slept on Can You Hear Me Mutha recorded with Fila Brazillia’s Steve Cobby in 2012).

Yes, it really does nod towards Sound of Music and backs this cleverly with an illuminating barrage of steely industrial noise. Of course, the album will only truly explode into life when it surges into the live arena. A lavish and unique operatic gothic party that promises, as ever, to be a scream.

Life on the whole feels a little more erratic than usual for many of us and in under 45 minutes, Wu-Lu manages to skilfully capture this.

Her debut album The Spoils felt like a spell thrown into a mirror of static, and more than a decade later, her newest album trembles with a similar sense of rupturing enchantment.

Proof serves as a nostalgia trip for long-time fans of the septet and a summary introduction for the curious. With thirty old songs, three completely new tracks, and eleven new versions of well-loved classics, this album marks a satisfying closure to their first nine years as a group.

This is the pop we need; considered, vital, comforting, spiritual.

What you will find is an artist keen on experimenting with mood and form. Much of the music probably makes greater sense alongside the dance project, but as a standalone piece of work it offers welcome insight into another side of Hadreas’ artistic temperament.

It’s a wonderfully dexterous and developed body of work that gives more of itself with each listen.