Sure, with ‘This Is Really Going To Hurt’, Flyte have successfully echoed the sounds of the past, but it’s all about as paper-thin as a yellow-hued Instagram filter.

What the streamlined sound of ‘Homecoming’ lacks in broad musical scope, it more than makes up for in attitude.

Ultimately, there’s a charming purity that runs through ‘New Long Leg’, and a sense that Dry Cleaning wasn’t the product of a masterplan. Instead it’s the by-product of the lives they were already leading which gives an uncompromising human quality to this debut.

In and out of the studio, Ryley Walker has been one of indie rock’s more colourful characters for a while now; ‘Course in Fable’ only reinforces that view.

La Femme toss so many weird and interesting ideas against the wall, that for every gorgeous moment that sticks, there’s an awkward miss.

Xiu Xiu have recorded a 12th album that is an interesting listen, but rarely an easy one. It’s unlikely to win them any new followers, but existing fans won’t be disappointed.

‘DEACON’ confidently celebrates love in all its spiritual glory, with an unwavering focus on the good. In his sweetest moments, serpentwithfeet’s joy is palpable, paired with an unwavering sensuality that underpins each of the album’s eleven tracks.

Though unlikely to win over those who weren’t already fans, ‘sketchy.’ is a more mature offering than previous Tune-Yards records though still retains much of the tripped-out whimsy that first made them so infectious.

Melancholy, meticulous and achingly grand, it extends his artistic narrative in resplendent form.

At 15 tracks long, he occasionally falters under the weight of his own abundance, but there are so many great sweets in the pick’n’mix bag that you don’t really mind the odd underwhelming chew.

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

The issue is that, in conflating deliberation with maturity, ‘Today We’re the Greatest’ ends up feeling a little bit middle-of-the-road.

‘Written & Directed’ sees the quartet evolving into the rock outfit they’d always threatened to be.

What ‘Great Spans…’ may lack in coherence, it makes up for with occasional moments of sheer beauty.

Underlining everything is a sense that he’s playing to his musical strengths, both in terms of the way he incorporates so many aspects of his sonic calling card; droll lyricism, field recordings, off-kilter melodies, and a general sense that he’s having the analog and the electronic meet at deliberately awkward junctures - making it all the more impressive when, counterintuitively, the kind of clashes that define ‘Nightmare Scenario’ or ‘Starlight’ actually work strikingly well.

Records like this always sound deceptively simple when done properly; if it were as easy as Adult Mom makes it sound to write pop gems this endearing in their honesty, everybody would be doing it.

Powerful, but in an entirely different way to its predecessor, it’s a record which further proves that the strength of Hayley Williams - as a songwriter, a vocalist, a woman - is still awe-inspiring.

It’s Ghetts’ ability to paint rich scenes and his breadth of unabashed honesty that animates his comeback into a fully-fledged triumph. Although meticulously crafted under Ghetts’ famed perfectionist nature, it’s pure; neither shunning the light or the dark across the 16 tracks. He lets it all show.

Their boldest, most exciting switch-flip in years.

Musically rose-tinted, ‘Poster Girl’ is pure pop escapism.

Although accomplished in its tone, ‘I Won’t Care How You Remember Me’ longs for dynamic crescendos to differentiate the album’s eleven tracks, no matter how pleasant they may be.

‘When You See Yourself’ sounds like a jolt back into something potentially promising: there could still be life in the old Kings yet.

Aidan’s scathing wit is more incendiary than ever: the vivid, often lurid portraits he paints of the society around him feel more vital than ever, as does his ability to navigate them with a grim chuckle.

While ‘Harlecore’ may be primed to bring the party, it’s just not quite the mad one we were hoping for.

Despite the swirling joy of ‘Julie’ also making for a high point, moments like these aren’t consistent enough to propel ‘Banane Bleue’ towards its potential peaks. They do however show that, when he delivers, Frànçois can still make pure, earnest, and enduring connections.

‘Carnage’ is a jewel in the Cave-Ellis cannon. A thrilling piece of work that sources a sweet-spot between the unbound introspection of the Bad Seeds’ recent work and the furious fire lit beneath Grinderman and The Birthday Party.

Much like what has come before, it’s in this melancholic in-between that ‘Little Oblivions’ finds its voice; a soundtrack for those searching for hope in difficult times, particularly when the wider world has removed easy distraction from the pain.

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.