Although Flat White Moon is a serene glance into the past it unfortunately lacks the innovation that makes what inspired it so great, and would be much improved if we could hear Field Music’s individual voice alongside their musical heroes.

These duets are, of course, not standards. The production is exceptionally murky – mostly collaborators move through the dark, uncertain world Stewart manifests with his Scott Walker-like crooning of glossolalia.

Arab Strap’s first studio album together since 2005’s The Last Romance is marked by a feeling of not quite-ness; everything’s there but it just doesn’t quite click into its potential at many points. A good half of the record treads in similar ground to opener and comeback single The Turning of Our Bones; drum machines, faintly angular guitar arpeggios and Moffat’s largely spoken dissection of middle age.

Ideas disintegrate before developing, awkwardly blending into the next, leading to occasionally aimless moments. At its best, though, it’s a riveting and subtle addition to an already impressive discography.

TYRON’s second half is undoubtedly more interesting, demonstrating a maturity to his lyrical ability. While it does feel like a forced attempt to put things right, on TYRON slowthai is allowed the time for self-reflection that cancel culture often denies.

Her career to date might have been bolstered by a stellar string of friends but there’s one thing that the multi-instrumentalist is more than capable of handling herself – the artful knack for sincere songwriting.

These musical twists and turns can occasionally detract from Christinzio’s lyrics, which veer between gallows humour and vulnerability. When the latter half of the album gives his words more room to breathe, their impact becomes even greater.

There’s very little room for light and shade amongst their wall of cavernous synths, and while this can generate an evocative mood (the bursts of percussion and gloomy electronics of pink lightning does give the impression of thunderstorms) it can sometimes feel like James and Roddick are happy to operate within their comfort zone. Nevertheless, fans of Purity Ring fans will undoubtedly find WOMB to be a welcome return.

At its most delicate points, slow climbing chord progressions carry as much emotion as her lyrics, and at its lowest, though sparse, carry them where they feel overly simple.

Too many of the tracks dissolve into an atmosphere-for-the-sake-of-it sludge, yanking you into consciousness only every once in a while.

New Me, Same Us finds its vigour in the sweet spot between pure pop and the band’s more adventurous tendencies. When an emotionally-charged, jazz-inspired piano climax cuts through the otherwise smooth veneer of New Fiction or when Where You Belong leans fully into a part-funk, part-R'n'B groove, the band really hit their stride. It’s just a shame there are some stumbles on the way.

Deap Lips works best when Wayne Coyne and Steven Drozd are in the background, as messy closer There Is Know Right There Is Know Wrong proves, but the fact that they know when to keep themselves there suggests they’ve learned lessons from With a Little Help from My Fwends. An intriguing diversion.

Ultimately, although it’s more immediate than their 2016 record, what you gain from We Are Sent Here By History will be dictated by how much you connect with its musical vision. Sink into its groove though and it’s an album that presents a fascinating societal commentary.

Miss Anthropocene is an uneven record, and one that arrives with considerable baggage that threatens to turn it into a punching bag. But Grimes' proven abilities as a producer win out. There are superfluous, overlong passages, especially when the brightness in her music drains away.

Look At Us Now Dad is at its best when it treads further into experimental territory. ... Unfortunately, it can be frustrating that this isn’t emphasised more fully or frequently but still gives a glimpse into where Banoffee could ultimately head.

Whilst it’s fair to say that the offering has been fine-tuned somewhat (frontwoman Lili Trifilio has all but ditched the Courtney Barnett schtick in favour of a far more direct punk-pop far closer in tone to early Paramore), it’s still a solid effort.

Seven years on from their first record, Shopping are still giving audacious levels of energy. It would be interesting to see the band develop their electronic experiments even further in their next album; though All or Nothing builds on its predecessor, it only gives us a taste of what the trio can do when left alone with a synth.

Aside from the heavenly chorus that opens the title track, this feels very much like business as usual – which is no bad thing. Nada Surf are a fine guitar pop band. There’s not much sense on Never Not Together of them looking to change things up.

Overall, there's a real sense that La Roux is on autopilot, resulting in a ‘samey’ sound that struggles to hold the listener’s attention.

It takes repeated plays to reveal the subtle depths, the pump organ, accordion, electric bass, melodica, mellotron.

It's a surprisingly spotty album from an artist who rarely puts a foot wrong.

While Power is sonically different to the rest of the band’s outings, and a solid release that keeps their ever-consistent discography ticking over, it’s perhaps not as vibrant as previous efforts.

This early run of songs is perfectly enjoyable and the lyrics play superbly with country clichés, but rarely does it reach towards the quality we know the band to be capable. That is until lead single Gentleman turns up and gives the album the kick it needs.

Frances’s voice has a tendency to sway into a mumble throughout, making certain vantages into her world a strain to perceive – unfortunately lending itself to the album’s mysterious nature a little too well.

The album's arrangements are uniformly beautiful, coddling Staples' vocals at all times, though sometimes to the point of being overly cloying.

The eight-track album features themes on the new age norms of class, gender, race and power that shape the world today. Beyond the sweet melodies and striking instrumentals, New Age Norms 1 is a project with a message.

Despite its title, New Ways doesn’t break boundaries or really see Vollebekk break out of his typecast. But it is nonetheless a nice, warm album.

Stepping away from the core sound of their debut was a bold move from Girl Ray; they don’t always quite pull the change off but, when they do, Girl can be a charismatic record.