It doesn’t quite compete with their very best albums (Ignore The Ignorant and Men’s Needs, Women’s Needs, Whatever) but it’s at least as good as the next tier (The New Fellas and For All My Sisters). More than anything else, Selling A Vibe is a fantastic entry point for new fans to get on board.

An album that sounds both cosily intimate and impressively ambitious at the same time, and presents as one hell of a calling card for Dove Ellis. This looks to be the beginning of an incredibly exciting journey.

Cabin In The Sky is a rollercoaster of an album that reveals its depth over repeated listens. Yes, at heart it is a eulogy for fallen loved ones, but it is also an existential crisis wrapped up in phenomenal guest appearances and carefully selected samples.

In the streaming age many records are front-loaded to cater to short attention spans, so Tranquilizer deserves kudos for placing two of its most interesting tracks at the end.

Henson has subtly evolved rather than reinvented his sound, and it’s resulted in one of his finest albums to date.

It may not be quite up there with the band’s classic ’90s releases, but there’s enough quality on display to reassess Dando’s ‘poster boy of grunge turned heroin casualty’ reputation.

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.

Is it a rewarding listen? Most definitely. It will take time to fully get to grips with everything that the album has to offer, such is the breadth and depth of Iconoclasts. Its importance lies in its central message, which is (possibly) that healing is possible, even when it doesn’t seem to be. It’s a stunning achievement and quite possibly the album of the year.

While it may lack the instant hooks of her earlier work, and take a bit more time to sink in, once it has its emotional hooks in you, you’ll be hard pressed to stop listening to it.

A Bridge To Far shows them to be masters of their craft, comfortable in their own mini-world while incrementally improving their sound and consolidating their legacy.

While Lux is certainly accessible, it’s also a challenging listen. The fact that it sounds like nothing else may put some people off straight away. Yet for those willing to fully immerse themselves in its overwhelming sweep, the reward is likely to be a dizzying, unmatchable experience which cements Rosalía as one of the most visionary artists working today.

Welch is often unfairly accused of being too bombastic, but on Everybody Scream she channels that energy into something truly epic.

Circa Waves do what they do very well. And ultimately both volumes of Death & Love do a decent job at documenting an undoubtably traumatic time in Circa Waves’ lives.

If there’s a fault to We Are Love, it’s probably that the immediate hooks that define The Charlatans’ best moments are missing. It’s an album more built on atmosphere and feel, and you do sometimes miss that exhilarating rush that tracks like One To Another, Love Is The Key or Weirdo had in spades.

On songs such as this [Fairchild] and Chapter 16 Dave sounds focused, engaging: ingredients of a great album are here, but he’s yet to stick the landing.

West End Girl is an extraordinary album, one that not only belongs in the long list of great break-up albums, but also in the best pop albums of the year list. It’s often an uncomfortable listen, but it’s also one you can’t stop yourself listening to.

It’s an album full of quiet confidence, and of an artist having the courage to move out of her comfort zone. It may not prove to be Hannah Jadagu’s big commercial breakthrough just yet, but by the sound of much of Describe, that can’t be too far away.

For an artist who’s capable of making genre and generation defining records, Deadbeat just simply isn’t good enough. Too much fluff, too many unfinished ideas, too ponderous, too flabby.

Some long-term fans may miss the studied cool of the band’s earlier material, and there’s a definite sense that, as good as they can be, Bar Italia are still a work in progress. Yet it’s a work in progress that can, when they hit the right notes, sound utterly thrilling.

Mixing hardcore punk with pop rock is a tricky proposition, and it’s definitely a dog who’s had his day, but Militarie Gun play with such sincerity and passion that it becomes infectious.

The whole record is exhilarating, a bustling house party where the aux is only ever passed judiciously.

Silver Bleeds The Black Sun… is not just the next entry in their incredible evolutionary cycle, it genuinely feels like the culmination of what the band have been trying to do for over a decade.

It’s an album rich in ideas and confidence, and will only cement The Last Dinner Party’s status as one of Britain’s most exciting new bands.

After almost 20 years together, they’ve produced a record which is both an essential addition to their back catalogue and a hugely rewarding starting point for anyone who has yet to become familiar with their work.

It’s an emotionally exhausting listen at times, but it’s also a frequently stunning one.

It’s an album where time invested is rewarded, a cohesive collection where all constituent parts interlock in satisfying style.

The Life Of A Showgirl isn’t a particularly bad album, but given Swift’s immense back catalogue, too much of it sounds like an artist on autopilot and in need of a rest.

Uh Oh may not be an album filled with instantly catchy pop hooks, but instead is heavy on atmosphere and feeling. It’s an album to live inside, and although the general tone is muted, it becomes an affirmation that even the worst thing that can happen can be channelled into something inspiring.