Funny how a guy can put out a decades-spanning greatest hits record just two years after releasing his debut album. Of course, we’re speaking only on technicality here—the filmmaker-turned-rocker has been composing scores for his movies since 1974’s Dark Star. This anthology record comprises the themes from 13 of his films, re-recorded with the family band who collaborated with him on his two Lost Themes LPs.

The most enjoyable albums are often the ones that charm unexpectedly. A solid solo record from Parquet Courts frontman Andrew Savage comes as no surprise, it’s the sequence of its miscellany that pleasantly catches you off guard.

If you think you’ve heard this album before, don’t worry, you’re not losing your mind. Bits of Beck’s brand new Colors have been trickling out for years. “Dreams” landed as a single way back in 2015, followed by “Wow” one year later.

Having started in nascent form at the beginning of the millennium, it’s safe to say Stars are old hands at this whole indie pop thing by now. The Canadian five-piece is onto its eighth full-length, and if There Is No Love in Fluorescent Light is a long way from setting anything on fire, never mind matching peak Stars Set Yourself on Fire, it’s a comfortingly pleasant experience.

If you’ve followed Annie Clark’s musical project St. Vincent at all, you know that her albums can be somewhat of a rollercoaster ride with peaks and valleys not only in time signatures and tempos but in genres and styles.

The long-awaited return from London’s King Krule is something to behold. Anyone who has spent time living in London, walking its littered estates, will recognise that The Ooz drips with the concrete cynicism the city breeds.

A perfect marriage of sound and substance, Lotta Sea Lice finds two of indie rock’s most vibrant and eclectic singer/songwriters sharing the spotlight for a brilliant joint LP. Courtney Barnett and Kurt Vile have long been celebrated for their introspective, journalistic songwriting, acting as voyeurs into the everyday life of the ordinary human.

Angel Deradoorian’s latest solo release, the six-song mini-album Eternal Recurrence, feels like a sonic exercise. In a way, the EP is a series of six meditative song cycles, minimal compositions that explore darker (and narrower) textures than her previous solo album, 2015’s The Expanding Flower Planet.

Tamara Lindeman’s decision to make the latest Weather Station album a self-titled one speaks volumes about the musical material within.