The tracks are brighter, bolder and more immediate than anything he’s done before and thematically they aim higher also.

In short, it’s an album that demonstrates the continuing merit of musical collaboration while also offering a hopeful counterpoint to a world all too often consumed by negativity and strife.

While it’s a consistently strong collection, with no real missteps, certain tracks on Beginners really stand out. The quality peaks with the mid-album triumvirate of Unforgivable, Northsiders and Twin Souls.

The record dazzles with its detail, beguiles with its lyrical performances and leaves a lasting impression with powerful songwriting.

While Mordechai falls just short of providing that ‘sit up and take notice’ moment many of us have been waiting for, there’s certainly a lot to admire about Khruangbin – not least their formidable crate-digging skills.

Vocals on The Vacant Lots’ albums are always an acquired taste, much like those of Newcombe’s in fact, yet this trait never seemed to hold back bands like Kraftwerk. It might prevent them from reaching heights that otherwise could be achieved with synthy brilliance such as this. ... So look past the vocals and enjoy.

The delights of Home Again is that Hayman sings about emotions that are easy to identify with but sometimes hard to articulate.

Both music and subject matter are sometimes claustrophobic, but the whole of Kitchen Sink is infused with a humour and empathy that opens the album out. It might be on point, but it never feels overly worthy; it’s a truthful account told in engrossing style.

This new album shows that they are capable of not only subverting the expectations of the audience, but subverting expectations of the music world in general.

Burial is the most important influence across Civic Jams, but while his productions, his songwriting, his structures carry a real emotional heft, Darkstar sound for the most part as if they’re playing for time.

The result is surely one of the best pop albums of 2020, and is possibly Ware’s finest to date. A sensual delight, What’s Your Pleasure? is the ultimate in post-disco gratification.

Annual feels like a one-paced, indistinctive first step into a new world and one that is begging for just the odd about-turn to maintain interest.

It is, quite simply, a staggeringly good record for an artist at this late stage of what has been a remarkable career, entirely made up of original compositions and worthy in its own way to stand alongside the masterpieces of its creator’s mid-’60s and mid-’70s halcyon periods.

Sometimes, Kinsella keeps it simple (as on the acoustic lament Headphoned) while at other times, such as On With The Show, the sound is more lush. It’s a testament to Kinsella’s abilities that he can pull off both equally well.

Punisher is funny but serious, subtle yet obtuse, familiar and somehow simultaneously entirely unique. Even if in the final analysis it’s still not massively folky.

Planet’s Mad is an intense listen, a runaway train devouring everything in its path. It’s also an absolute tour de force from an extremely talented producer who is only going from strength to strength.

It’s not a Maccabees revival, but rather a delicate, fragile document of a life-changing event – and one that will touch the heart of both parents and non-parents.

ChangesNowBowie has absolutely no right to be as good as it is, especially with the daring song selection and languid arrangements. But much like the Bowie at Glastonbury 2000 collection, ChangesNowBowie is proof (if any were needed) that when he was committed to a project – and having fun – David Bowie was the greatest musical artist that Earth has ever seen.

At times superfluous, at others explosively brilliant, it is more emotive than their previous releases and rather than shy away from this, the band jump in with both feet.

The lack of ripe new fruit is probably what makes Homegrown a slight disappointment, but judged by most standards, it’s still a very solid collection that vividly reflects a turbulent chapter in Neil Young’s long and eventful career.

Maserati are apparently attempting to encapsulate something much larger, the infinity of space and the endless depth of the mirror. With this album, they’ve achieved it.

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.

It seems to be a study of gender, sexuality, innocence and sin, and ultimately identity; and it feels literary, in the way it deliberately and self-consciously turns over its themes.

Good Songs for Bad People maintains a high standard almost throughout, but it does tail off a little disappointingly at the end.

Noveller is music not only for the open-minded, but for the inquisitive. It’s a joyous, enthralling sound that she makes, and it seems to be getting more enticing with each release.

At times Pick Me Up Off The Floor feels like a welcoming musical refuge. It’s an intimate, empathising support mechanism of an album, well-placed to respond to the emotional needs of listeners during these turbulent times.

It’s an undeniably pleasant background to a warm summer’s day. But, like the output of many of the chillwave notables it resembles, once Headroom has finished playing, precious few details remain lodged in the brain.

World On The Ground has an accessibility and lucidity that should see Jarosz win new fans. This is a highly accomplished outing by an artist very much in the ascendancy.