What’s remarkable about ‘What A Devastating Turn Of Events’, though, is that the gravitas of this weightier material isn’t cheapened by the sudden contrast, just as the LP’s initial buoyancy somehow doesn’t become retrospectively flippant. Instead, the album honours that life’s lightness isn’t contradicted by the dark moments, but rather co-exists alongside them; a reminder that everything – and everyone – contains multitudes.

An excellent record that is at points raw but more often joyful, but is also proof of the importance of taking time out.

Across the board, ’Mahashmashana’ might be his best to date, an album that ploughs a relentlessly adventurous furrow while striking a compelling balance between the epic and the intimate.

As the record builds to a final cathartic hushed scream, ‘Punisher’ marks a clear step forward, but one that remains as fundamentally graceful as all that has come before.

‘Midas’ has the excitement and energy of a debut album, but the wisdom and restraint that comes from experience, making it a touchstone for what a great band can achieve.

An intimate but confident record that reveals more of its magic with every listen.

Whether it’s a modern California of wildfires and livestreams, or a nostalgic glance at a James Dean, Marilyn Monroe make-believe - it’s Lana Del Rey’s world, we’re just living it.

Yves has carved out their own, trailblazing sound amid the racket of modernity and it truly feels like an awakening. Trapped somewhere between visceral punk, Oneohtrix Point Never and Dean Blunt, ‘Praise A Lord…’ is in fact like no other.

‘if i could make it go quiet’ has all the qualities of a blockbuster pop record - incessant hooks, A-list producer credits - but hone in on each track and you’ll find intimate vignettes that are fully-formed in themselves.

The 19-track remix record has elements of bubblegum-pop, screamo, rock, pop, hip hop and pretty much every genre you can think of, creating an album that is a masterpiece in its madness.

Not so much Marika 3.0 as the Marika who was always there, but tougher, stronger and more triumphant than ever.

These guys just made you want to flail your arms around and shout the lyrics. Heel-stomping music. God-forbid, head-banging music.

Swampy and tumultuous like a month’s worth of rain, the Dundalk five-piece have spared no expense in creating immersive, cavernous spaces of shoegazing, post-punk splendour.

Nothing Great About Britain permeates everything about this fantastic first record from the soon-to-be-star that is Tyron Frampton.

So, taking all the wide-eyed playfulness of their earlier work, and the confidence in creating a sonic tapestry of their latter, ‘Only God Was Above Us’ is both their most accomplished and most Vampire Weekend album yet.

Ultimately, ‘I Love You So F***ing Much’ is as confident, self-aware and ambitious as a record by a band who’d rocketed skyward last time around should be.

Endless Flowers is an amazing effort that deserves a place at the top of its genre. This album deserves to be heard and loved. Do yourself a favour and get yourself a copy once it hits the stores.

With seemingly none of that badass-ery from their classic late-’90s output diluted by the passage of time, ‘Little Rope’ sloshes up nothing less than a condensed, rocket-punch collection of ten three-minute bangers.

There may well be no such thing as a ten out of ten album, a level of perfection and flawlessness that is by all likelihood totally unobtainable; but it's hard to imagine anyone coming closer than these five men from New York.

Everything here has been given room to expand, songs drifting from dreamy ascension to full-blown rock revelation and back again. An album of immense power and conviction.

Full of heart and full of ideas, it’s big, clever and brilliantly odd.

She once again explores new ventures, crafting a pop album that celebrates the old classics as well as the new, and cements her status as a true pop trailblazer.

An ambitious, joyous, heartfelt collection that finds him revelling in analogue instrumentation, expansive arrangements, and unashamedly retro sonic touchstones.

The record - which benefits from an open-minded choice of producer in Chairlift’s Patrick Wimberly - concludes with the soaring ‘Brothers Won’t Break’, a heart-warming reaffirmation of the Jarman union - and a roar of assurance to the Cribs faithful that they remain one of the most irrepressibly vital bands in Britain.

‘Mortal Primetime’ doesn’t hold your hand or ease you into its sonic shifts. Instead, Sunflower Bean embrace this constant reinvention head-on with a record that only years of experience and an unshakable bond could produce.

The lyrics are a little more personal, the band a little more developed - it seems that this is the start of a new and exciting chapter for The Gaslight Anthem.

Doubling down on Lime Garden’s refreshingly unpretentious sound, ‘Maybe Not Tonight’ is a new indie disco essential.

This is a fully realised version of who and what they have always been.