One thing this record definitely lacks is variety. With a work claiming to hold "the band's most varied songs" it's disappointing and surprising to hear so little diversity.

The Liberty Of Norton Folgate may just be the best thing they have ever recorded.

It's lo-fi at its finest and a contender for one of the more impressive debuts of the year so far. Fans of the genre will lap it up and with very good reason: it's short, sharp and straight to the point.

In A Dim Light is a wonderfully challenging, disorientating and immersive work.

If some of the sound could be better defined, and the special effects shaken on with a slightly lighter hand, it would be more coherent and ultimately more impressive.

Taken individually, most of the songs are accomplished and engaging (though we could certainly have done without the dreary Sad Beautiful Tragic) but Speak Now was such a coherent work that Red can't help but feel modestly disappointing.

Whilst it isn't flawless, it's as accomplished as it is experimental and it seems to improve with each spin.

Lesser Evil is an album that is a bit too cluttered and patchy to stand out as a classic debut.

The sense of rhythmic looseness and American country lilt, showcased most obviously on My Rose Coloured Friend, coupled with Mulcahy’s lyrical sensibilities and questioning of his own troubles and existence, make for not a particularly life-changing but pleasing listening experience.

Even the very best double albums--London Calling, The White Album, Tusk – have their lulls, but this record has too many.

The band are renowned for (occasionally controversial) storytelling, with lyrics artfully crafted, stretching their old English vocabulary like the most wordy of literature students; this is still evident but it’s generally less adventurous.

Emotion succeeds on its own terms, arguably remaining truer to the spirit of the era, not to mention Jepsen’s stated aim of taking the time to craft an album rather than rushing to cash in on a YouTube sensation.

And The Anonymous Nobody is a more than worthy edition to their legacy, proving how relevant this treasure of a band is.

The tunes are back, the harmonies are still weirdly endearing, and the album hangs together really well as a whole. As a single piece of work it is a fine achievement, a rival to Oracular Spectacular in its personal and political observations.

It’s an exquisite, softly delivered wonder of an album which contains many of the things that he’s excelled at over the years while leading The High Llamas.

Billed as the spiritual successor to 2017’s Flying Microtonal Banana, sadly a lot of this new record feels like exactly that, the musical equivalent of the yellowy orange filter Hollywood tends to put on films and TV shows to indicate that it’s the Middle East. Yet as flippant as that may sound, there are still some flashes of innovation.

Always Inside Your Head strikes a good balance between continuity and change, and re-establishes Lone as one to watch in the electronic scene.

Thousands of artists will have spent the last 18 months writing music about being stuck at home, but very few will have realised said music by banging bits of their actual house. In doing so, Herbert may have produced the quintessential lockdown project.

There is no filler as such on Some Nights I Dream Of Doors, though there are some pacing issues that could be dealt with by rearranging tracks. However this does not prevent it from being an auspicious debut, and a fine showcase for Obongjayar’s many talents.

Though the magic isn’t always present on This Is What We Do, there is still a creative drive that makes the case for Barnes’ continuing relevance into the 2020s.

This is an album full of club bangers – anyone who prefers the ballads like Love Me Like You Do and How Long Will I Love You may be disappointed. Fans of decent dance-pop anthems though will be more than satisfied.

The Joy Of Sects is exhilarating, witty and addictive, which blends perfect pop melodies with raw punk energy. It may not appeal to everyone, but it’s the perfect album to dance into the apocalypse with.

That Golden Time is undeniably a slow-burner of an album, and like much of Villagers’ previous output, it’s more than likely that a few repeat plays will pay dividends.

It’s an album full of joy and vibrancy – even when it threatens to become a bit too abrasive, Sanelly’s pure pop sensibility always rears it back. Full Moon is Moonchild Sanelly’s finest album to date, and is about to introduce a brand new superstar to a whole new audience.

If there’s a weakness that prevents this record from reaching the heights of his previous works, it’s that Danny doesn’t always know what to do over these pumping, otherworldly productions (particularly the lesser underscores collaboration Baby) but it’s hugely encouraging to see the rapper engaging with younger generations, sounding lively and charismatic 15 years in.

Whilst La Isla Bonita might end on a downer musically, this is an album that finds Deerhoof sounding refreshed and eager to go for another 20 years.

FIBS is an album that shows Anna Meredith is excelling at what she does best – creating forward-thinking, engaging music that isn’t replicated elsewhere.

Not a bad addition to the Antipodean canon then, and an interesting mix of the macho, the sensitive, the timeless and the "cool right now"--although one suspects that the latter is not something the band have deliberately aspired to.