Sweep It Into Space is as solid a selection of songs as they’ve ever produced and broadly typifies why they are so beloved.

They may have hit national treasure status a while back, with all the advantages and pitfalls that that can bring, but as long as they carry on producing music with as much soul, heart and beauty that’s contained on The Take Off And Landing Of Everything, Elbow will be with us for some while to come.

While there may not be as many instant hooks as in her earlier days, there’s a case to be made that Creature Of Habit may well be Courtney Barnett’s best album since her debut.

Charli is not the perfect pop album, nor is it a fully developed manifesto for where pop could go, but it is a collection of enjoyable, interesting tracks that don’t sound completely alien, but also don’t sound like anyone involved is selling out.

Overall, Hot Dreams doesn’t quite match up to the trio’s last record--it lacks a comparable number of top notch songs--but it still has some great moments.

This is Suede right near their very best. They remain incurable, helpless romantics, barely able to control their wildest musical thoughts, and Brett Anderson sounds like he depends on them more than ever.

What makes this the best Beabeadoobee record to date is its willingness to explore whatever musical direction takes her fancy. So there’s a delightful little waltz-time on Coming Home, while A Cruel Affair revisits Laus’ love of bossa-nova and embroiders it with some slide guitar

These worries are dressed with music at peace with itself and its surroundings, making as much resourceful use of digital and electronic possibilities in an intimate studio setting as previous album Frontier Man did with an orchestra.

It’s a brilliant record, even without the weight of history behind it, and a classic, true heavy metal album from the same band that practically invented much of the genre. Essential for fans of any of the forms of metal. Obviously.

This isn’t the Coxon of Coffee & TV or Freaking Out, nor indeed the Dougall you may remember from the perfect girl-band pop of Pull Shapes. Instead, it’s a mediative, often beautiful record that often has the capacity to surprise and delight. Just be sure you like saxophones.

It probably won’t be for everyone – what one person may find mesmerising and hypnotic, another may quickly find repetitive. Salt River is never dull though, despite its slightly narcotic haze.

The tension that gave those early albums their fizzing energy may no longer be there, but in its place is a band operating at a far higher level. Give A Glimpse Of What Yer Not is almost certainly the best album the reformed Dinosaur Jr have made so far.

Boys Inside is Mason's best work since his Beta Band days - a rich, dark slice of mournful, glacial electronica with a heart. Richard X has smoothed away the edges, yet lets Mason stamp his personality on proceedings.

It is because of this collaborative rejuvenation that Monsters Of Folk is a worthwhile endeavour, a stirring album and an outfit that is as nourishing for its constituent members as they are for it.

The album can be quite a handful at times, but if in search for a post-rock record that makes so much of an impression in so little time, one need not look any further than this.

Defying all expectations, they have taken a brave leap forward and delivered one of the first great albums of 2013.

Thankfully, the songs are varied and powerful enough to sustain the album, and their balls-to-the-wall approach is both refreshing and entertaining.

Everything you loved about the last few Phosphorescent records is still here, in abundance, but C’est La Vie seems more streamlined, more emotionally sincere. You can hear that Houck has discovered a lot of love in the past five years, and you only hope we get to hear him discover a tonne more.

Generally, this is a perfect introduction to the talent of Liam Finn - and even at 14 tracks, it never outstays its welcome.

Enticing, if inconsistent, this seems to be an album that de Graaf had dreamed of making, building on the pretty, prosaic folk-pop of her self-titled EP in 2013.

Traumazine is a success in its own right, solidifying her position amongst rap’s big stars of the 2020s.

Although the departure of Weiss is sad, it hasn’t diminished any of Brownstein and Tucker’s power: The Centre Won’t Hold sees them as vital, compelling and as searingly relevant as ever.

With My Ghosts Go Ghost they show real creative verve and re-affirm their position within the scene.

This disc proves that their ascension to lofty heights is complete and something heavenly indeed.

Created by two genuine outsiders and made with a refreshing lack of irony, Album is a welcome addition to the very best albums of 2009.

Exile In The Outer Ring explores complex subjects without reducing them to empty soundbites and neat conclusions.

King Of Limbs is a subtle, muti-layered affair - surprisingly low-key in places, and it certainly won't win back any fans who checked out in the late '90s.

Consistent, yes, but also vaguely disappointing, the band may be at the peak of their powers but it's almost a shame to see all the mystery drained away.