They provide a helpful and--mostly--enjoyable overview of the scope of Ashworth's work.

The result is not, unlike many of his peers, a symphony of interlinking tracks, but a collection of individuals that, together, tell a unified story of emotion.

Leading The Raconteurs, the restlessly inventive maverick White and the sunnier, more straightforward tunesmith Benson really do complement each other well, mixing thrilling aggression with focused sweetness. White may have a much higher profile, but Benson brings a positive, restraining influence to some of his partner’s self-indulgent tendencies.

The Triad edges ever closer to the purely experimental, with another tentative step rather than a bold foray into the electronica wilds, but for now it’s a worthy diversion from the well-trodden paths of other techno producers.

The attention to detail where texture and colour is concerned is the crowning glory with the Engineers.

Musically, it’s more ambitious and further reaching than any of Brun’s previous records.

If Deacon wasn't a force to be reckoned with before, then by gum, he is now.

Whitelands has created an immersive work that explores complex human experiences and proves that it is possible to come through challenges and grow from them. That they can do so whilst sounding so positive is testament to the band’s approach to even the harshest of life’s pitfalls.

Peer between the lines and Eitzel has lifted off some of the weight to create his most redemptive, mature work yet.

Messy has been given time to come to fruition, and that shows through every note. It’s a fine demonstration of Olivia Dean’s talent, and sounds every inch a marker of a long and successful career.

No longer clogged with the skyrocketing phosphorescent noise of yore, Growing’s agile and insular sound has permeated into a fugitive multidimensional fog, more muted than clamorous and constantly adrift on the faintest of prayers.

Clara is a supremely accomplished record, and deserves to sit with previous career highlights like Submers and Monument Builders as a masterclass in abstract electronica.

It’s a vivacious, impactful beginning which appeals both to the heart and the body. Yet, there’s also plenty of evidence of skilful management of sounds, elements being introduced and withdrawn at the opportune moment.

Holter is arguably at her best when exploring texture.

Carousel One exists as an album on which “meticulous” is the watchword; on which Sexsmith’s mastery of his craft is more readily apparent than ever; and on which a decades-long career has taken a turn for the cheerful.

By exposing his sensitive underbelly on album number two, Tiga builds up some impressive strength in depth, while pushing the electro-house intersection for all he's worth. It's a winning ploy.

So far 2009 belongs to La Roux, the rest are just playing catch-up.

In many respects, Green’s music feels like it belongs to an era much earlier than the 21st century. Yet in a modern industry that can often seem to be dominated by formulaic performers, Liz Green remains highly relevant as that rare exception. A true original.

On How Big How Blue How Beautiful, Welch refines a successful formula in a way that plays to her strengths without it being too familiar.

It [There’s Always Been A Bird In Me] brings a very successful return to a close and confirms how these sonic voyagers still have much to offer.

No Geography is a great Chemicals album, for it balances the hedonistic big numbers with sentiments of real substance, fighting its corner with vigour in the face of chaos. ... It ranks as one of the Chemical Brothers’ finest achievements.

To date, Frank Carter & The Rattlesnakes have blended buzzing Stooges punk, thick Queens Of The Stone Age riffs and winking alternative rock into something resembling Arctic Monkeys circa Humbug, as seen through a funhouse mirror. All of these sounds are here on End Of Suffering, and more besides.

This record has been a long time coming, as Fabiana first appeared as one to watch in 2017, but with her development as a singer, songwriter and producer it’s surely been worth the wait.

Render Another Ugly Method is an album which demands careful listening, almost as it pushes away the listener, inviting interpretation as it rejects it. Often thrilling, it is rarely less than compelling.

This is an extremely fine piece of work, another auspicious addition to the already impressive Border Community canon.

The recorded experience of the band is entirely different to that of seeing them live of course, but these last two albums are perhaps about as close to the bone shaking, mind expanding, air shifting onslaught as has yet been committed to tape. Somehow, Pyroclasts is more stripped back than Life Metal, but that merely adds to its live and immediate feel.

It’s a strange and often beautiful record, proving that Charli XCX is indeed the perfect artist to soundtrack this new twist on Brontë.

Not all of the 11 tracks here strike gold, but they glitter and glow with positivity.