Doe always hinted at such results from an LP, and Some Things Last Longer Than You delivers the lot and then some with devastating power and sincerity.

It’s a record that’s well-travelled, that’s absorbed a whole myriad of influence and taken two years to digest it into something cohesive. But, impressively, it’s a record that still holds its identity despite all the ideas it’s binding together.

It’s a record that feels at once deeply personal and eloquently grand at once. All this aside, musically Sirens is up there with Jaar’s best work

Requiem is the furthest Goat have ventured in expansiveness and length. Despite that, Requium is their most accessible moment to date.

Four full-lengths in, this is the most comprehensive full-length Joyce Manor have ever released.

While so many albums today are front-loaded, this one saves many of its treasures for the final stretch, ending on a high with ‘Highland Grace’, an appropriately elegiac closer euphoric horns and vocals.

There are some cringey bits, the title track relying a little too much on well-trodden punk tropes, the vocals ‘Still Breathing’ not as vulnerable as the lyrics might warrant, and ‘Youngblood’ a bit of a mis-step. If punk’s 50th anniversary has shown us anything, it’s that many old rockers grow old, go soft and give in. On that count, if not all, Green Day are faring pretty well.

Don’t Let The Kids Win shines brightest for its clear, and charismatic narrative voice.

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

There’s a lack of ostentation from start to finish. The sound is uncluttered but never lacking in clout.

It’s lusciously written, produced, and arranged.

I Had A Dream That You were Mine is a record that manages to capture that closeness and intimacy perfectly.

Gloomy, grey but definitely not dull, The Wytches have cast another stellar spell.

Each track is a musical sketch that assembles fragments of thoughts and shadows of daily pursuits. Escaping the urgency of old, this Ultimate Painting is a picture of a disquiet melancholy.

Tracks such as ‘Answer’ contain more light, pop-ridden sensibilities, yet it’s with the grittier, heavier-sounding choruses where Phantogram are at their best.

These songs [The Trapper and the Furrier, Tornadoland, and Obsolete] are, ironically, more cinematic than anything found on her last album ‘What We Saw From The Cheap Seats,’ and that sense of drama helps make Remember Us To Life a return to form.

The Altar is very close to being a razor-sharp pop blueprint.

Their past is a double-edged sword, but that doesn’t prevent Head Carrier from having its own unique strengths.

This is an album which very much belongs in 2016, and an expectedly assured debut from a band who are by no means redefining the sound of New York City rock ‘n’ roll, but are laying claim to being worthy flag bearers of it going forward.

It’s a record that does more than just pitch him just leagues ahead of anyone else in the game; it’s a portrait of a man who’s more than happy to invent a whole new one.

The most uncomfortable elements of life, colliding to create frantic, disorganised, but completely coherent mess, this record isn’t basic. It’s anything but.

More often than not, musicians determined to avoid old tropes are exhausting. But 22, A Million stands out as Bon Iver’s finest moment yet, a cross between invention and beauty that’s delivered without compromise.

Self-aware but undaunted, every moment sees the band pushing at the walls, daring to take it bigger, promising to make it more open.

The results range from dazzling to disastrous.

A surgical dissection of a full decade of influence, Merchandise pay homage to their upbringing without ever breaking eye contact with the sprawling future set ahead of them.

A clear adoration for 90s bands doesn’t stop Return to Love from being an extremely strong album from 2016, and an undoubted step up.

This time, the fiery furnace powering their new record comes from slashing open every membrane; letting ideas wildly collide like supercharged, excitable atoms. Brushstrokes and processes are all over this record.

Nick Cave’s lyrics have always dealt with love and grief, so while the themes seem more poignant because of his loss, in truth the content isn’t so different. It’s the raw nature of the tracks themselves that hit harder than usual.