As he says on opener ‘Good Morning’, Matt is here to help “you push your demons away”. And 13 beautifully-constructed ballads might just be the ticket.

His shifts in sound are as delicate as his music, continuing to showcase his ability to blur styles with unparalleled precision.

What could have become overly sentimental instead presents as subtle and sincere. The sincerity is elevated by their understated tones, harking back to the beauty of Elliott Smith but swept into now by crisp production and experimental flourishes.

Multi-faceted in both personality and musical style, ‘Access Denied’ has proven itself every bit worth the wait.

Among its mix of roistering anthems and melodramatic balladry, ‘9’ exudes a supple confidence throughout, engaging in some of the most enthralling Australian psychedelia to emerge from 2021 (of which there is plenty).

‘Bright Magic’ flourishes at its most calm and erupts at its most fervent, lending itself neatly to a state of anxious tension, sonically chronicling the faded walk back from the club, when dawn and dusk blur into irrelevance.

Radiant, joyous record.

There’s enough for fans to enjoy across ‘Lifeforms’, but it is not as lofty as it perhaps thinks itself to be.

He may know damn well how to deliver a banger, but also when to tone it back a bit too. Though it may not all hit hard and there are some sonic kinks that could’ve been ironed out, when it does hit, it’s impossible not to be swept up.

Tommy’s aware of her strengths, and she’s not afraid to brandish them: ‘goldilocks x’ is a little weird, a little dark, and it’s just right.

From the punishing storm that’s whipped up within the introduction of ‘Universal Chokehold’ through to the unflinching frenetics of ‘Set In Stone’, there’s a real sense of confidence that runs throughout the record’s 11 tracks. This is a band at the top of their game.

The instrumentals are less head-on, giving way to subtleties that are new for WWPJ as intricate guitar lines meander alongside the vocal melodies, the touchpoint with the rest of the band’s back catalogue. The less dense sound swings between lightening the tone and turning it far more melancholy.

Alexis Taylor’s discovery and consequent understanding of the importance of religion and its expansive scriptures are well captured in this reflective release.

Against Justin’s increasingly interesting way with words, it feels like the purest Vaccines album yet.

‘Cool’’s sharp pop unfolds with a satisfying lightness of touch.

An impressive first outing, Spencer.’s skills as a producer and songwriter have never been more evident. Period.

Her detached, precise narration leaves little to hold onto, and over 15 tracks, you begin to long for a little more emotion. Still, these productions are dark, atmospheric - she knows exactly how to conjure up a mood. It’s just that it’s slightly too forbidding to ever fully feel at home.

At its heaviest, ‘TEXIS’ is blistering, ‘Justine Go Genesis’ as mind-bendingly intense as it gets, with closer ‘Hummingbird Bomb’ and single ‘Locust Laced’ not far behind. And when synths do take centre stage, no impact is lost: ‘True Seekers’ and ‘I’m Not Down’ are akin to a more in-your-face Chvrches, Alexis’ vocal sitting juxtaposed with expansive electronics. It’s the best of both worlds.

‘A Beautiful Revolution Pt. 2’ is a sweet paean to music’s mood-boosting properties, as well as it capacity to effect meaningful change.

There’s a track or two that don’t add much to the album’s direction, ‘Maggot’ being one of them. But on the whole, this feels like Amyl and the Sniffers finding their purpose. It’s something to behold.

There’s a sense of the trio reaching for a comfort blanket, turning back towards the intellectual pop that inspired them as youngsters in the ‘80s.

‘star-crossed’ mirrors the pain of a breakup, from turbulence through heartbreak to hope and self-acceptance. It’s here where she fully embraces Nashville storytelling. Far from spinning distant, third-person tales, each track feels incredibly personal.

If ‘GREY Area’ saw Simz come-of-age as a rapper, ‘Sometimes I Might Be Introvert’ is Simz making her first long-lasting artistic stamp on the zeitgeist.

It's in the middle where the album begins to sag, thanks to some monotonous backings and noticeably weaker hooks ('Remote Control'/'Tell the Vision') which lead the runtime to become alarmingly apparent, before strong features on 'Keep My Spirit Alive', 'Moon' and 'Pure Souls' further begin to force Kanye awkwardly into the background on his own album. He positions himself closer to the spotlight towards the final third.

In a world where musicians can feel pressured to release albums year after year, Maisie took her time with this one, resulting in an album that could well be timeless.

The record is not quite so relentless that it needs a pause, and at points feels as if it should move up a pace, decibel or pitch instead of the opposite way.

An invigorating, thrashing effort - which is ultimately also a lot of fun - ‘Glow On’ shows off just how innovative hardcore could become.

It’s simultaneously euphoric and angsty.