Some of the tracks, especially towards the end, don’t have quite the immediacy of the earlier songs. .... That’s a minor quibble though – at its best, The Good Kind is proof positive that The Big Moon have actually had two excellent songwriters in their ranks for some time.

It’s all very sedate and relaxing, and while that works beautifully throughout the album, sometimes you just want to hear Regan turn it up a notch. Yet, maybe that’s not the point – it’s possibly Headphones that sums up the album’s ethos, a song about being literally wrapped up in music, and it’s that immersion that O Avalanche is best experienced in.

It never feels too claustrophobic. You can feel the care and attention lavished on each track – it’s a full three minutes on Alone until we actually hear Smith’s voice, but that doesn’t seem to matter as it feels like a pleasure to dive into this sound again – the chiming guitars, the shimmering synths. it’s like welcoming an old friend back home.

The new interpretations confirm the timeless quality her songs possess, offering new perspectives on youth as now seen through experienced eyes. It can only be hoped that she has a suite of new songs up her sleeve, for on this evidence she remains one of the very finest vocalists in British pop music.

This album is a joy, with a cast iron guarantee that you’ll be smiling by the end of minute one.

There are so many wonderful things happening throughout the album but one minor issue is that it’s 13 tracks long, where 10 or 11 would have done. Simply put, there are a couple too many songs to maintain the momentum of the first half of the album. That said, U Should Not Be Doing That is the best song here.

Appreciate the storytelling of Strawberry Hotel without shuffling. It’s nearly a five-star experience, too, its facilities and furnishings impressing greatly – along with the conviction that Underworld are as good and as vital as ever.

It’s light, supple and tender, full of balladry and spacey (almost psychedelic) arrangements that seek to soothe and soften your mood rather than make you want to breathe fire (as their early work was wont to do). Unfortunately, it also challenges Indie Cindy for the unfortunate title of ‘most inconsistent Pixies album’ – it is, however, better than that record.

Patterns In Repeat is one of the finest records of her career to date.

If only The Last Flight could have been longer – both initially and on this record – for it is a gripping page turner, the heart of the listener captured as we soar with Amelia Earhart through her last adventure. Returning to earth is momentarily distracting – but only heightens the desire for more.

Yet even if it does run out of steam a bit towards the end, there’s enough on Tension II to cement Kylie’s reputation as the Queen of Pop. Whether it would have worked better as an EP is debatable, but it complements its predecessor nicely without ever quite overshadowing it.

3AM (La La La) feels like an album to lift Confidence Man up to the next level. As Brat Summer draws to a close, it seems like we’re about to prepare for a 3AM winter, and this will be the soundtrack.

Ten tracks which are probably the distillation of what Japandroids are all about. It’s a noisy yet tuneful swansong, full of fierce guitar chords, pummelling drums and songs about seedy downtown bars and hard-partying women.

Only the slightly lightweight nonsensical The Ram-A-Lama-Ding-Dong Song fails to land (thankfully, Zimmerman’s opening request of “does anyone have a kazoo” is met with a negative) but otherwise this will serve as a fine introduction to Zimmerman’s music.

It does lack the melodic hooks of some of Field Music’s previous albums – there’s certainly nothing as instantly accessible as Them That Do Nothing or The Noisy Days Are Over, and some may find the somewhat ‘busy’ atmosphere of the album a bit overwhelming. However, it’s always good to hear the Brewis brothers back together, and Limits Of Language is a fine way to celebrate their 20th anniversary as a band.

It all adds up to another reliably excellent state of the nation from Heaton – there may be no real surprises on The Mighty Several, but it confirms his national treasure status, whether he likes it or not.

There are also a couple of tracks that threaten to fall into formulaic power-pop territory, such as Tired Old Dog and Lift Heavy. Yet there’s still a lot to enjoy on Film Buff, and it also acts as justification for Shea’s decision to carry on with the band when Vikingstad and Lokøy left.

Too often on For Cryin’ Out Loud, he plays it far too safe and sounds up sounding like any other pop singer – and, as there’s a lot of competition out there, a bit more daring may be required should Finneas come out of the production/songwriting shadows next time.

There’s nothing particularly new on Stream Of Life, but that’s not an insult – in fact, listening to the jerky, frantic pop of I Knew That You’d Say That, you’re almost transported back to those heady A Certain Trigger days. Maxïmo Park have steadily become a reliable, consistent band – this is another example of their quiet excellence.

AI vocals or not, this is an album that goes up near the top of Caribou’s achievements, a feelgood set of tracks clinging on with determination to the summer, providing a sun-drenched idyll as Europe heads towards autumn. Dan Snaith is clearly in rude health – and with Honey his experimentation has paid off.

By the time it finishes, it’s hard to avoid thinking that Cutouts is the best album by the best side project of the best band of all time. If you don’t get there, or if you read that and find that it doesn’t sell it to you, then you simply can’t be helped.

A lot of guest names (including Jon Hopkins, Little Simz and Ayra Starr) and songs with literally the worst lyrics you’re likely to hear this decade. Possibly most unforgivably, there are barely any memorable tunes either – which used to be Coldplay’s great strength.

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.

There isn’t any doubt that The New Sound will divide people – for every listener who has their mind well and truly blown, they’ll be another who derides it as self-indulgent tosh. However, you certainly won’t find another album this year that sounds so intensely creative, ambitious and packed full of ideas.

While no record of this nature could have presented SOPHIE’s music exactly the way she envisaged it, the album is enjoyable and a fitting addition to her legacy.

It ["Too Many Rivals"] is one of the most beautiful and upsetting moments of an album filled with beautiful and upsetting moments.

The basic template is still there – a slightly moody post-punk atmosphere, with plenty of room for Coxon’s saxophone – but the songs feel more fully formed this time around.

It’s a fun listen the first time, and a reasonable one at the second listen, but how it does after that is anyone’s guess. Enjoy, but proceed with caution.