For most of its running time, you won’t want to move anywhere, either. Maybe don’t stay that way forever, but frequent returns to Ruins in the coming years are guaranteed.

An album of summer anthems this is not, then, and its collision of sorrow-tinged dreaminess and ethereal symphonies ensure it’s not just good wallowing material, but good material full stop.

With Love Keeps Kicking Martha have delivered 11 brilliant sketches on modern life and all the bullshit that comes with it. Sure, some days are hard, but there's still plenty to celebrate. Like an old mate lending a sympathetic ear, it's a record that helps remind you we're all in this together.

It’s energetic, diverse, raw and full of the forward- thinking chemistry and cool that The Kills are notorious for.

With ‘The Spiral’ acting as a key moment, a fusion of individual voice and collective endeavour, it’s clear that his journey has only just started.

Overall, ‘The End, So Far’ is a remarkable punch of sharp, sobering heavy metal. Slipknot yet again thrive in their signature darkness – however, there it no doubt that this album would be elevated by more cohesion.

As a whole, ‘Loss Of Life’ deftly balances the ability to appeal to the hardcore fans who have stuck with them, all while winning back the hearts of those who may have been lost along the way.

With fluidity and ease aplenty, the ten songs on ‘The Universal Want’ render a soulful, elevated journey visiting outer and inner locations, providing the listener with a sense of fulfilment.

Burna is at his best either holding it down for his lineage pushing traditional sounds forward or tracing African influence beyond its shores.

Coming two years after his debut ‘Blunderbuss’, a vitriol-filled purge that dropped in the wake of White’s divorce, Lazaretto does sound like a transitional step.

Some may find 'Visions' consistently eschews the same ground of super slick, layered vocals over chrome digital structures but this reductive palette of sonics hears the album fly towards its peak of 'Nightmusic' - a collaboration with Majical Cloudz that is camouflaged electro pop that'll keep you muttering for months.

The end product is another outstanding record, executed with fearlessness and grace.

An effortless blending and renewed celebration of genres like punk, new wave, techno and hip-hop is all made possible with the inclusion of long time Trainspotting favourites Iggy Pop, Blondie and Underworld and extra additions in Queen, The Clash, Run DMC and Frankie Goes To Hollywood.

Soundgarden moved admirably forward with a strong new L.P, and while the performances missed some of the vitality of their youth, they still were able to invoke a tone and vibe all of their own.

Combative, empowering and unashamedly fun.

With the high energy psychedelic haze that metamorphosises around anything this band touch, their exploration of complexities forever surprise.

Subtitled ‘An Electro Revival’, Richard’s sixth album is nonetheless a sprawling affair; R&B, house and trap jostle alongside curios such as ‘Le Petit Morte (a lude)’ [sic], a break-up jam unexpectedly belted out over Beethoven’s ‘Moonlight Sonata’.

‘3AM (LA LA LA)’ is Confidence Man at their raviest, their naughtiest, their most confident.

The whole record feels like a big sigh, a huge outpouring of personal tracks or long running loves that she’s finally able to release right. ... If there’s one criticism 'Blue Banisters' will draw, it’s that it’s the same old same old in its sonics. Playing the same chords and singing in her same tone, this might be one piano ballad too far for less lyrically-inclined listeners.

A luscious record bursting with ideas, technical flourishes and unexpected turns - ‘Fun House’ is Duffy’s greatest achievement yet.

With a distinctive sound that's certain to have mass appeal, this teen troubadour is set to smash it.

It will be fascinating to see where Clark goes next, but in the meantime MassEducation is better than it needs to be, and an interesting reflection on a career defining record.

Deep cuts remixed, ‘Nine Inch Noize’ is blend of studio and live, and it emerges as a transfixing, completely realised collaborative work.

Enter Shikari have the tools and drive to create something potentially mind-blowing, it’s just that they fell well short of the mark on this occasion.

Just like all the very best albums, I Tell A Fly is by turns thought provoking, musically challenging and genre defying but perhaps more importantly, it imbues a sense of uniqueness that suggests you can’t imagine anyone else making it.

It’s a record that captures the anxious state of the world and shows a more fragile Gaz Coombes, far removed from the happy-go-lucky teenager who wrote ‘Caught By The Fuzz’ and ‘Alright’.

Cheeky, subversive ‘I Saw The Truth Undressing’ seems to sum up this wonderful, enlightening record.

Easy on the ear it isn’t, but Slow Focus carves its name into the synapses nonetheless, like some sort of unstoppable, power-electronics ‘In Utero’.