It’s only when he tries to amp it up that ‘Chew The Scenery’ falters; ‘Stuck’ might possess a standard freshers indie chorus, but when it aims for Oasis-level swagger, it meets closer to the Gallaghers’ recent solo endeavours than bucket-hatted air-punches. Similarly the euphoria of ‘Yeah!’ misses the mark. Still, there are more than a handful of stellar moments.

For the most part, the record is a heady trip that prances around greatness but settles for pretty good.

There are nods to The Velvet Underground’s knack for dreamy simplicity (‘Blind’), and times when Viscius peeks into Vivian Girls-adjacent, more garage territory (‘Take That Back’). For the most part, however, ‘Everything’ operates from within the particular fog of grief: fragile, tactile, tender. It’s a frequently gorgeous thing.

‘Into The Blue’ largely finds itself coasting on one level. The standouts are the songs that break out of the formula.

For an artist usually so meticulous with her vision, that these are able to sound so airy, almost frivolous - and, indeed, they were recorded back in 2020 as more of a exercise than intended for release - makes this curio of an EP all the more engaging.

It has the potential to be an outstanding listen, and it would have been if ‘Other Language’ and ‘In Blur’ had a slightly stronger sense of direction, but Deafheaven has still crafted a record to get lost in. The metal purists crying sellout will sorely be missing out.

‘Deep States’ provides, perhaps unsurprisingly, a difficult listen at times, weighed down as it is by its overwhelming lyrical bluster. Penultimate track ‘Legal Ghosts’ is however an unexpected moment of melodic tenderness - this elusive tale of loss revealing a soft underbelly beneath this otherwise bristly, tough-skinned offering.

Here, the sonic experimentation finds his production and arrangements reaching the same imaginative heights. A thrilling and unpredictable addition to Villagers’ gleaming canon.

Orla Gartland’s debut is an intricate, carefully-constructed collection, blending together indie-pop, folk and alternative rock. She masterfully layers sounds so not even a hand-clap feels out of place and even empty space is used well.

And while, perhaps, this more reflective musing on American life wasn’t quite what we’d come to expect from The Killers, ‘Pressure Machine’ does prove that not all escapism arrives with a hook-laden chorus. This is an album which invites you to dig a little deeper.

This is by no means a ripping up of the rule book for Jade, but from this side-step where she’s going next could be anyone’s guess.

Ihe duo’s latest project is a barrage of positivity with a collection of upbeat anthems perfect for a sun-soaked summer of love.

‘Model Citizen’ takes everything that has driven the scene forward and injects an unapologetic - and very welcome - Gen Z spin.

A collection of the best of what has come before, ‘Draw Down The Moon’ finds coherence in its unashamed madness. It’s pulled together by Connor Murphy’s unique vocal performance, and the welcome dominance of drummer Jon Hellwig.

IDER are back at what they do best, providing a glimmering sense of hope that we aren’t alone with our anxieties.

The music never explodes into complete madness, but rather bubbles along slowly, suggesting that the violence is mere moments away. ... Horror fans take note. This is how you create terror.

‘Happier Than Ever’, then, is not just a triumph in progressing a signature sound into new territories, but a lesson in how to own your reality with confidence and class.

Throughout, ‘American Noir’ delivers a vibrant and fitting homage to the recently departed Jim Steinman; the eight tracks harking to his musical opus.

With ‘Thirstier’, Torres has delivered her most varied set of songs yet; trying on so many different costumes suits her.

While ‘Take The Sadness…’ may not be a bolshy, career-defining move, it is a shimmering, reflective gem, hoping to offer a little relief from the darkness.

Indulgent by design but illuminated with imagination, it takes a few listens for the LP’s diamonds to truly shine, but when they do, they really shine bright.

Setting such a high bar on your debut can be a poisoned chalice but Dave weathers the storm with his astute penmanship, impeccable musical taste and cool, collected delivery.

While ‘Yellow’ mixes it up nicely with freak-outs, group chants, P-funk and mellowing R&B, it is lyrically where the album wearies.

While more of a slow burn than his previous efforts, ‘Gold-Diggers Sound’ sees Leon Bridges shine brighter as a songwriter, as an artist and as a man than ever.

‘Immunity’ was a shoulder to cry on, a promise that it will all be okay, eventually. ‘Sling’ feels like that “eventually” coming true.

‘Hotel Surrender’ must surely be one of the most cathartic records of the year. From the laid-back cool of opener ‘Oh Me Oh My’, it seems the Faker brand of chill beats is back. The self-production adds to the organic nature of the record, and is often quite bold, with strings and saxophones aplenty.

Soothing to the extreme, but still with enough variation not to lose attention, he’s on to a winner.

On ‘Baw Baw Black Sheep’, Rejjie Snow reaches for a more conceptual take on his laid-back sound, but stumbles on the execution.