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.

By intention or coincidence, the band's debut boils over with frustration. And all you crave is a piece of it.

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.

After eleven songs of depth, colour and excitement--songs that grow more vivid with every listen--it’s always a shame to reach the slow decompression of ‘The End, Again’, but as the title suggests, it won’t be the first time, nor the last.

‘Razzmatazz’ is fun, flamboyant, and entirely of its time. A record that truly lives up to its name.

It seals the chapter of Jordan’s late teens, early twenties, and it lands up being his finest work by a country mile.

It’s older, wiser and more reflective. A wonderful surprise album whose existence in 2023 actually makes perfect sense.

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

Not always an easy listen, but a consistently thrilling ride.

It’s as fun and messy as it is timelessly trendy; as silly as it is erotic.

Time away hasn’t dulled No Age’s musical sword--they’re sharper and brighter than ever.

The impatient will find ‘Once Twice Melody’ a tad wishy-washy, but for those who persevere there’s still a lot going on beneath the waves.

It’s a record swathed in simple but effective neo-soul melodies, echoing Chance, but also early 00s R&B with its gentle pianos and smattering of light hi-hats and percussion. Warner’s own languid style of delivery only adds to the lilting nature.

As Biffy-ish as ever, with its cranked-up guitars and stadium-sized hooks, it’s also a deliciously unusual listen, shifting gears from the dub-flecked ‘Instant History’ to the unhinged scorcher of ‘Cop Syrup’. And while ‘A Celebration of Endings’ does explore the current frustrations felt by the band, both political and personal (“We’re fighting an ugly war / And it’s no good to freak out,” sings Simon Neil on ‘Weird Leisure’) it also offers up a brand of gut-wrenching, defiant hope.

Silent Earthling is far from an reinvention: it’s simply Three Trapped Tigers adapting and tinkering with everything that made ‘Route One Or Die’ such an exciting debut, to end up here with a leaner, more focused, brilliant second album.

She conveys a depth of emotional exploration in her lyrics that goes beyond even her previous work and sets Petal up as an affecting songwriter.

Well and truly living up to his aim of creating a timeless classic, ‘Twin Heavy’ sees Willie delivering a more concise and cohesive record than his previous, leaning into a more distinctive sound and crafting an album that shines throughout.

Bikini Daze proves that MØ has pretty much mapped out every aspect of her identity; it's up to her which path she chooses to take.

Singles ‘Level’ and ‘Being Around’ are given a new lick of paint, while newies ‘I Wish It Was Sunday - an invigorating thrash defined by screeching guitar solos - and closer ‘Boring’--a live favourite that sounds even more intense on record--show that Our Girl can more than hold their own across a full-length. It’s what’ll come next that we’re most excited about though.

An album that manages to be both delicate and thunderous at once, ‘I Slept On The Floor’ is a potent and empowering statement of intent.

While The National don't progress or indeed offer anything new to outstanding cynics, they instead rejoice in their strengths of detailing life and all its sorry baggage in the most beautiful of ways.

Tempest has delivered a compelling, thought-provoking insight into our troubled times.

What’s unique about Pinegrove is how they compress uncertainty, doubt and fear without being overbearing.

Mike Hadreas takes a scalpel to the inner-workings of his creative brain, and the love that feeds it. An absolutely flooring record from once-in-a-generation talent.

There’s still that personable rawness to her production – the synthetic drums and often sparse arrangement mirroring her frequently despondent lyrical themes (“The death of everything real has happened…” begins ‘apathy is wild’). But her vocal offers warmth.

This album, for a short time, will make you question your sanity and the world around you.

On The Book of Traps and Lessons Kate Tempest continues to impress as one of the UK’s most vital voices.

Ultimately, Kali’s intention to create a timeless album about love is met with expected ease.