It might not be exactly how you remember Loop to be, but it’s distinctly Loop nevertheless and is a welcome return for a band that were thought to be done and dusted.

It may have been written and recorded in double quick time, but Won’t You Take Me With You is still an impressively assured, fully realised record.

While 2013’s effort saw some incredible peaks, Vile’s new album has managed to forge a more consistent collection of songs built around simplicity and a shrugged shoulder approach to lyrics.

Overall, it adds up to form an accomplished album that manages to be both outward-looking while also proud of its heritage.

It is the sound of a band entirely comfortable and confident with where they are.

The main discernible difference immediately noticeable is the increased tempo and prominent, thundering rhythm section alongside racing guitars.

A fine piece of work here, both profound and mysterious. Hopefully we won’t have to wait another eight years for the next one.

Ultimately it's an incredibly rewarding listen, even if the self-observing anxiety that's writ large throughout means it doesn't quite reach the lofty heights to which its creators have bravely aspired.

Option Paralysis may be considered a side-step by some, but there are so many exuberant flourishes and cleverly thought out harmonies that it's probably better to consider it a mind-boggling step over. The Dillinger Escape Plan isn't out of tricks just yet.

Not only is Head Above The Water a collection of beautiful deep-psych lullabies of the heart, it’s also a tender reminder of the importance of compassion and support when life gets tough.

Nine Types Of Light is another strong early contender for album of the year.

It’s catchy, perfectly executed, and succeeds in both honouring the better aspects of a much maligned scene whilst also sticking two fingers up at the horrific ideologies that still populate it.

I’m A Dreamer is never going to set the world alight with innovative new sounds, but these songs are perfect little gems that possess a timeless quality.

It's not a totally perfect record, for which we should be thankful - remember what happened to The Stone Roses after they'd released their flawless debut? - but it is an excellent first album, and gives notice that Alex Turner is already one of this country's best lyricists.

This is an album that exceeds expectations and is unlikely to disappoint those who do bother to listen to it.

Free of the patronising condescension that many Western musicians adopt when they embark on musical journeys like this, Victoria Bergsman has produced a marvellous, spell-binding album.

Home Sweet Home is refreshing and genuinely breathtaking.

G_d’s Pee AT STATE’S END! might follow a certain well worn path but still sounds magnificent, especially at volume, pulling you in like a rip tide.

This is an album that sounds fresh despite having its roots firmly planted in the post-hardcore/pre-grunge era.

It is put together with a huge degree of dignity and respect that makes it the perfect swansong for the Man In Black.

These are truly wonderful songs that deserved to be poured over and analysed for months to come.

Their blend of the parochial and multi-cultural with a hint of dark mystery combines to promising effect here.

There’s no denying this is a heavy record, not at all easy going mood music you’d lightly slap on whilst performing menial tasks. But the mix of gentle moments of reflection amongst muscular foreboding sounds save it from being overly doom-laden. And the fact remains, it is a genuinely exciting listen.

Those familiar with the older Årabrot will find much to admire here, and this is far from a crossover album, but in terms of scope both sonically, lyrically and artistically, it’s perhaps the defining moment of the band so far.

As gross as The Body set out to make No One Deserves Happiness, it is Wolpert’s presence that actually provides it with an element of hope. She’s like a flower in a bomb crater, and in a weird way, The Body might just have made one of the most hopeful pop albums ever.

It might not be FOTL’s most accessible album, but The Peace And Truce is perhaps their most rewarding. Once those rough edges have been understood and accepted, Falkous’ cryptic lyrics are an endless source of mirth and puzzlement. There’s depth here, and it’s not just in Ruzick’s bass lines.

It is harsh, unflinching and, at times, pretty hard to listen to. But it’s an album that had to be made, in order that, as the title suggests, demons can be exorcised. It’s this quality which makes Exorcism such a compelling, and ultimately uplifting, experience.

The beautifully warm and naturalistic production brings these inherently intimate songs closer still.