It’s a bold, contemporary sounding record that is also aware of its broader lineage, something encapsulated by opening track Stranger Than Fiction.

At times Fleuves De l’Âme feels like the audio equivalent of unearthing a sunken chest of treasure and feeling the glow on your face of the iridescent colours that project from the precious stones inside. It’s also a reminder of music’s ability to transcend cultural boundaries and open up new worlds and Hedfi deserves credit for providing these positive experiences.

In short, it’s another set of beautifully crafted sound portraits, rich in detail, in which to both decompress and luxuriate.

For some the relentless artificiality of this album will make it hard going, and is likely that Walt Disco will make better records, but as a debut this is assured, individual, and liable to incite a thousand arguments about teenage clothing choices. Like all the best pop music.

There will be parts of this album’s roots that those outside Mali can never fully comprehend, but regardless of your entry level, you’ll be certain that those roots are still strong and bearing exquisite fruit.

Alpha Zulu is certainly a top-tier Phoenix record, bringing back that effortless French cool in a way that only they can.

Narratively cohesive and relatable, it is in celebration of where he comes from that ultimately makes Last Man Dancing the essential, repeatable work that it is.

Although Yawning Abyss is a tad more conventional than Mr Dynamite, it’d be fair to assume Creep Show will remain an acquired taste for some. But for those who have no qualms about stepping into their sometimes oppressive, sometimes sleazy-sounding world, you may not want to step back.

Even the less successful tracks have something interesting about them, and they never flatten the feel-good mode of the album. It’s been a while in coming, but Bunny could be a case of third time lucky for Willie J Healey.

The overall take out from I DES however is of an artist continuing to play to his strengths, delivering another slowburning set of songs full of delicate beauty and affecting warmth.

Mostly, Love In Constant Spectacles is one of Weaver’s most successful albums – it may not have the instant ‘wow factor’ of The Silver Globe or the nods to the dancefloor that her last album Flock had, but these are some beautifully intricate, thoughtful songs that deserve all of your attention.

From the opening crunch of Two For His Heels to the closing majestic sway of ‘Tis Night, it adds up to his best album since Standing At The Sky’s Edge. Those who have just discovered Hawley through the musical will be delighted, as will his legion of long-standing fans – this familiar mix of Sheffield steel and sentimentality still runs deep.

While not quite up to the standard of his finest solo works like 1991’s Rumor And Sigh, Ship to Shore is nevertheless a remarkably fresh and vital sounding record, with Thompson’s rich baritone voice undimmed by the years and a clutch of excellent songs, mostly characterised by his familiar themes of vulnerability, disappointment and loss.

[Take Care is] a darkly funny and thought provoking song on which to end on, and a prime example of the diversity and humour that makes this quite possibly the best Madeleine Peyroux record in twenty years.

A highly listenable collection which will be seen as one of her finest albums to date.

This is the most challenging yet of Hayden Thorpe’s solo oeuvre – but also the most rewarding, for you can appreciate it without knowing anything about Orford Ness. The music compels you to undertake a voyage of discovery, to travel in your mind if not your body – but if you’ve been there, you will recognise the sights, the sounds, the sea spray and the ever-constant wind.

Héritage will no doubt further boost their already strong credentials. There may be elements of familiarity here but there’s also a freshness and sense of integrated cohesion. In short, it shows them to be one of the best in their field, having lost none of their power despite on this occasion dialling down their sound.

An album that seems full of ideas and creativity. Liverpool has, of course, produced a lengthy list of bands over the last few decades. It looks like Courting can be added to that rich musical heritage as well.

The Granite Way is the perfect demonstration of how he still stands as one of the leading figures of English folk music – nobody can quite tell a story like he can.

A suave album full of competently executed ideas imbued throughout with a distinctive mood.

This is not retro. This is not homage. This is borderline heresy. The past is there, yes, but only so it can be restructured, reprogrammed, reversed. They remember the old rites – Silver Apples, United States of America, Amon Düül II – but not to copy them.

While there may not be anything startingly original on the album, as a collection of cool, stylish floor-fillers, you can’t go far wrong with Perimenopop.

As the subtle, off-tonic final note puts to bed the album closer The Empty Nest, and with every aspect of the record exceeding expectations, Two Dancers makes a strong case to be named album of the year.

That an album that sounds this vibrant and thrilling came out of such dark circumstance is a testament to the songwriting skills of Showalter. Pain never sounded so good.

Small Changes may not be as accessible or immediate as Kiwanuka’s previous albums, but it’s another wonderful record from one of our most talented singer-songwriters.

Harsh electronic soundscapes are matched with more ambient pieces, and Anamesis Part 1 is a much gentler proposition creating the illusion of calming wind chimes, with Part 2 adding pastoral flourishes. Whereas Annotation pairs club beats with gentle electronic inflections, and Kundalini recalls the thrilling experimentalism of her last record in its use of exotic sounds.

There is enough control behind all the madness to ensure that the result remains just the right side of uncompromising.

Senjutsu is Iron Maiden’s strongest offering in some time, looking forward whilst occasionally peering back over its shoulder. In tone it’s the band’s darkest album, but the sheer coherence and confidence of the playing, writing and production makes it feel filled with light and positivity. There’s conflict all over the album, but this is the sound of a band firing on all cylinders.