Unfortunately, it seems like the record's runtime was set before material was allotted to the space, unleashing a high-octane sugar rush in a space fit to dilute it into the unbearableness of being palatable. There are worse things.

Real Power is a lot of fun, though at points it seems to sacrifice bite in favour of a certain kind of generic polish.

The Great Bailout, while resting handily within her trademark virulent atmospheres and spoken word, is among her most impenetrable and least entertaining from a practical sense. This is not a fault of the record, but a necessary and expected byproduct of its existence, as each track runs up to ten minutes in a dirge of menacing poetry with instrumentals more evocative of a sinister mood-piece than a traditional song

While Glasgow Eyes is no Psychocandy, it is without doubt a true-to-form The Jesus and Mary Chain album and, for that reason alone, worth the listen.

It’s a record that sees Doyle take chances, not all of which pay off by any means, but it is one that never truly coalesces into a great album in the way his last two records have. That said, he remains a figure who is always interesting and developing.

One More Thing is the product of an accomplished band noodling around in the studio. There's a playfulness and creativity here that promises bigger and better things from the Brighton four-piece in the future. As far as debut albums go, this is a promising one.

Resigning itself to well-trodden paths, Venus seems curiously content charting no new territory.

While this is an exciting new style for the band, the album could have benefited from more of the stripped-back moments that we hear in the likes of America. In the opening and closing songs of the album, we’re reminded why Courting are such a captivating band but New Last Name, while fun and energetic, sadly fails to match the impact and charm of their debut.

A hint of musical theatre elsewhere sees the record lose some of its bite, but in general it’s a robust rejoinder to some of the more depthless musicality of soul-baring, 'authentic', indie-rock. Kirby is instead funny, scathing and full of clarity about her personal epiphanies.

Sleater-Kinney’s decade-spanning songwriting style feels the same. Give us the electrifying assault and brutal guitar tones to fill those tiny cracks now present in our hearts. Give us a little more rope.

Big Sigh's strength is in not holding back from confronting darker feelings, and revelling in the raw honesty of experiencing them.

Ultimately, it's a collection of well-written and well-presented songs, though at this point the familiarity with the Condon style feels expected, and the few new tweaks aren't quite enough to raise Hadsel above a middling Beirut album.

This is probably one for Veirs purists, but such is the standard of her songwriting that even among these sketches, there’s some real gems to be found.

There are times when this commitment to innovation and experiment costs Los Angeles its ability to hold the listener’s attention. .... Even so, Los Angeles proves that each artist on the record is a visionary in their own right, as they push the boundaries of the past whilst looking to the future.

The album works in short bursts of adrenaline. That can leave midtempo ballads like Shoo feeling aimless.

God Games provides glimpses of what makes The Kills so compelling, but is unlikely to convert many new listeners to the cause.

All That Was East Is West of Me Now, begins as a noisy yet meditative record with crunching guitars and snapping snares, before settling into a more reflective pattern to suit the resigned sighs and stuttering sounds his tunes twist taut upon.

Goodnight, God Bless, I Love U, Delete. is overlong and perhaps too diffuse for its own good, but to hear Moreno wholeheartedly indulge his melodic instincts makes the whole exercise a worthwhile one.

Jonny arrives after a decade as the same well-paced and tender exercise in running in place, exactly where they always leave off.

Although all of the tracks on the record blend seamlessly together, many sadly sound similar to the last, with only a few stand-outs such as Superbloodmoon, a collaboration with American singer-songwriter d4vd.

On Want You to Know she assures us that 'beneath the layers there is simplicity'. Despite this, there's always an emotional distance created by screens and technology, with tongue-in-cheek lyrics.

As a standalone record, End of the Day does not always justify its existence. Some tracks are simply too empty, leaving a noticeable divide between audience and artist. It takes a concerted effort to listen to the album as a single track, and it perhaps would be best enjoyed alongside the film it was first written to accompany.

When it works, it’s thrilling, especially on the moody Moi and the mercurial, atmospheric Sons and Daughters. Elsewhere, Palms of Hands and Dusty are perhaps a little grindcore-by-numbers. Still, Neil and Vennart have presented their vision in uncompromising fashion, and those who yearn for Blackened Sky-era Biffy will unquestionably find something to love.

It's perhaps not the finest Hiss Golden Messenger album, but it's certainly one of the most joyful, and in the current climate, maybe that's just what we need.

Snow Angel is a well-calibrated blend of ballads and upbeat pop; self-contained but not unambitious. Not dealing in grand epiphanic or showstopping moments but rather steadier, more subdued honesty, Rapp jettisons the debut pop album rule book.

Overall, Learning How to Live and Let Go fluctuates in tone. But this doesn’t negate the clear effort the band have put into making this record a lot more experimental than any of their previous releases, and it’s still chock full of heart and vulnerability in its lyrical content.

The lengthy tracks here lose their momentum and oeuvre, dragging wearily toward the end. But when it's good, it’s great – similarly lengthy tracks in the first half, Wandering Through and Our Song feel varied and forceful enough to keep us on our toes.

While Deliverance does have instances of real bracing power, it equally finds itself faltering in its most exposed moments where it really needs to connect.