Live at the BBC is obviously preposterously big (I'm kind of relieved not to have been sent the accompanying DVD), but actually that’s kind of fine in the digital era – it’s not that old fashioned beast ‘the live album’, but a whole sprawling history to immerse yourself in, eras hurtling by.

An easy grandeur is present throughout, as is a sense they are following an increasingly individual, carefully textured path. It is a wild, vivid romance that The National make their own, and on High Violet it sounds just as striking, just as wild, just as vivid as ever.

A surprisingly excellent singles band.

For all this bravado, BEYONCÉ’s confessional moments are when you connect with it the most.... Flawed? Certainly. Boring? Never.

This is jazz, this is funk, this is soul, this is gospel... but most importantly, R.A.P. Music is rap music, as fresh as it comes.

On the Line is yet another beautifully-realised and impeccably-delivered effort from a songwriter who revels and beguiles us from floorboards and pavements that few other songwriters would dream to tread.

This isn’t a few Eighties synth presets stuck through a distortion pedal--it’s music that resonates far beyond a simple aping of well established precedents, often managing to be funny, sad and thought provoking in the space of a single track.

So it wasn't because Blur gave the most outstanding performance of their two-decade career that justified their rejection of what I'll call the Seymour route. It was the timing, the sense of 'crowning achievement', the feeling of poetic justice. As a document of that, Parklive is worth your money.

Action Time Vision... covers a seminal time when anything seemed possible and a special kind of never to be repeated excitement hung in the air. For those reasons alone this box set is worth anyone's time and money.

This is a terrifying, wise album.

As it stands, it’s an emphatically rich and addictive work. It does sound a whole lot like Dylan, yes. But it’s a whole lot of excellent itself, thanks very much.

It’s a determined, seductive experience, brimming with belief and completely torching everything they’ve done before. As of now, The Twilight Sad are basically untouchable.

We could go on about how great this compilation really is until the cows come home, the Thurston Moore sampling 'Heaven's On Fire' possibly explaining why such documents as Passive Aggressive are essentially vital in rock and roll's present transitional phase.

It has the same majesty and ethereal wonder contained in the best works of the Flaming Lips, Boo Radleys, My Bloody Valentine, Jesus and Mary Chain and Mercury Rev.

It’s a visceral, pulsating entity, echoing with tinnitus.

It might be six years since the last album, but it was worth the wait.

These are ultimately, however, personal stories that are elevated by their universal nature.

A melodic and lyrical versatility runs strongly but the atmosphere created around the words is beyond a mere accompaniment.

Yes it may be comfortable and familiar, but Silent Hour/Golden Mile is never samey.

As a whole, Singing Saw is Morby’s best work.

By marrying the subtle ethereality of bands like MBV with the swashbuckling pomp of a modern-day Iggy, they are a band at once single-minded and confused.

There are moments where the live dynamics allow the songs to hit a few more buttons than the studio recordings did, but ultimately it was an overwhelmingly visual show and it feels like everything here is lacking its USP, no matter how good it is.

It’s one for the wider music aficionado too though, a fine opportunity to appreciate the best band of the past 20 years.

A great, and fun, album.

An album that is both abundant in depth and variety, as well as in terrifying walls of noise and gaping chasms of silence.

When you combine this teeth-gritting lyrical intensity with El-P's boundary-pushing production and stupefyingly capable poetics, it's little wonder that, for all its darkness, paranoia and rage, Cancer For Cure emerges as one of the year's most endlessly re-playable records.

This is both the album Ufomammut completists will have been awaiting and the best album for new listeners to get their ears stuck into.

When he steps away from alt-country-rock (or whatever you want to call Jeff Tweedy et al) Cline tends to veer towards a more experimental jazz sound and this is where Lovers really surprises.