Tenderly questioning at every turn and predominantly joyous in its approach, these subtly provocative tracks are a defiant call to arms in an ever more uncertain age, underlining Bottum’s impeccable songwriting chops following his tenure in the disparate groups Faith No More and Imperial Teen and gleefully showcases Holman’s innate charm.

If you’re a fan, you’ll still be a fan and if you’re not, you still won’t be.

MONSTA X, formed through a reality TV programme, display versatility, emotion and style on their second English-language album. If their third is a tad more ambitious they’ll really be onto a winner.

It’s a concept that really shouldn’t work, but somehow does. Cave’s songs, usually so full of menace, mystique and melancholy, are given new light under Smith’s light, airy voice, and the fact that she was unfamiliar with the source material means that no tracks are treated with any over-reverence.

By the time the melancholic Schoenberg soprano has drifted into the ether at the end of The Abandoned Colony Collapsed My World, you’ll be ready for a repeat listen – although you’ll hear so many different elements the second time round, you’ll wonder whether the album isn’t secretly mutating whilst your back’s turned.

It seems to capture their essence better than its predecessors. Whilst the effect is rather eclectic, covering several of their bases, and with its existence being a little surprising after recent years’ events that pointed to their departure as a collective, it’s a welcome return.

Aside from several unwanted bumps in the road that fail to impress at all, he has at least managed to produce something that resembles an echo of past glories in a few places.

The Myth Of The Happily Ever After doesn’t just stand out, it soars, inadvertently becoming not only Biffy Clyro’s best album to date but one that will undoubtedly stun their critics.

Old Friends New Friends sees the artist settle his legacy thus far and clear the way before he gets stuck into another project.

These are earthy songs to be played on the road, to be enjoyed around a roaring fire. These are new songs that sound well-worn and well-loved – much like Crazy Horse themselves. If not that surprising a listen, it’s nearly always an enjoyable one.

By the time Making Sense Of It All’s wobbly notes dissolve into reverb it’s clear that Overflow, while not entirely justifying its runtime, is a serious work from an intriguing producer.

Quite comfortably the duo’s best album to date, Unity is – literally – like all your favourite bands rolled up into one.

We have already seen Ladyhawke’s penchant for writing the perfect pop song and hitting the highs, but now we know a lot more about the voice behind that craft. Because of that, Time Flies is her best album yet.

Seventeen Going Under is powerful, essential stuff, a coming of age album that speaks to the human experience in the here and now. Its creator is absolutely the real deal.

Sometimes the music is too comfortable for such strife, but there is more than enough here to satisfy. The voice still sounds great, too.

At times Fleuves De l’Âme feels like the audio equivalent of unearthing a sunken chest of treasure and feeling the glow on your face of the iridescent colours that project from the precious stones inside. It’s also a reminder of music’s ability to transcend cultural boundaries and open up new worlds and Hedfi deserves credit for providing these positive experiences.

Despite her albums being snapshots, sometimes a little more diversity in subject matter would be a good thing. Ultimately, while some intriguing risks have been taken, 30 is probably the weakest, as well as conversely the most intimate and in many ways bravest, Adele album to date.

With Pilgrimage Of The Soul, MONO have given us an album that can confidently stand alongside As The Love Continues and G_d’s Pee AT STATE’S END!

Flying Dream 1 is, in many respects, a typical Elbow album – warm, comforting and sincere. It’s also a record that many of us need after the last two years.

Dave Gahan’s emotional input is never in doubt, but despite some excellent production – and fine backing vocals – it is kept at a distance at times. Seen live, however, this set should be quite an experience.

On first listen, it seems unfocused, rambling and at times impenetrable, but given time, it unfurls into something utterly compelling and all encompassing. ... It’s a difficult and traumatic journey at times, but it is worth taking.

Monument is another addition to what’s becoming one of the most quietly consistent back catalogues in UK instrumental music, and proof that while others may begin to run out of ideas at this stage of their careers, Portico Quartet are sounding as fresh as ever.

The Solution Is Restless, by its title alone, does not have all the answers – but its musical debates are gripping. The spectacle of three creative identities finding common ground in a divisive world is both priceless and inspiring.

Things Take Time, Take Time is a tender, comforting salve of a listen, and will be one of those albums that you keep returning to when life seems a bit too much.

The dark, introspective nature of Idles’ latest release may well disappoint those who love the band for their rabble-rousing, tongue-in-cheek headbangers. But for those who’ve been waiting some time for the beloved Bristolians to take a left turn with their sound, Crawler is an absolute thrill.

Music For Psychedelic Therapy is a real accomplishment, otherwordly escapism that’s irresistible for the mind, body and soul.

The Nearer The Fountain, More Pure The Stream Flows is a lovely album, and a big step forward from Albarn’s previous solo effort, Everyday Robots.

There may be no one track that could be a crossover commercial hit for the Wolter siblings, but this is an album full of signs of longterm progress. This is the sound of a band in it for the long haul, and by the sounds of it, it’s going to be quite the journey for them.