Heartbreak is rarely as raw or bittersweet as it is on Michelangelo Dying. It is a brave piece of work, Cate Le Bon surrendering to her feelings in a costly emotional investment but delivering a piece of work whose release must be immensely cathartic. Such inner strength proves ultimately uplifting.

Saving Grace is just a testament to the joy of making music – a true ensemble piece where every voice and every instrument serves the songs.

In a parallel universe, Getting Killed would be the album that catapults Geese into superstardom. .... This is Geese’s finest album to date, and one that will no doubt find its way on to many people’s best of the year list.

Despite Tim’s absence, LSD is awash with his presence. LSD is a masterpiece and evidence of what can be done in the face of adversity. It’s a record whose importance is more than its music.

The wit and the orchestral touches that have always been part of The Divine Comedy are still present, but Hannon’s personal touch elevates this collection of songs to something even greater than he’s produced before.

Possibly Lekman’s best work to date here. The Swede’s unlikely side-hustle has inspired an album that looks at love in all its myriad forms, and does so quite brilliantly.

While there may not be anything startingly original on the album, as a collection of cool, stylish floor-fillers, you can’t go far wrong with Perimenopop.

Dim Probs feels more personal, confidential, and ultimately vulnerable. It reaffirms Rhys as a generous author, celebrating his first language but taking in rich influences and instrumentation from countries far and wide.

Some of the songs have one too many musical ideas being thrown around, and the album is arguably too long, but the fact it doesn’t tail off in the second half shows the consistency of its inspiration, the excesses illustrating the raw creativity within. Jade understands what works in pop music

A fine return for an artist who seems as vibrant as ever, even in his eighth decade. Newcomers who have yet to discover the genius of David Byrne are possibly better directed to the Talking Heads back catalogue but long-term fans will find this to be an invigorating and often joyous addition to his discography.

Essex Honey is essentially a series of sketches, put out into the world before they could be framed. Yet therein lies its beauty, stemming from the bravery of Dev Hynes in sharing such bare thoughts and sadness with the world.

Hitting the mark unerringly, Antidepressants is a musical tour de force from a band at the very height of their powers.

International is the trio’s ideal signing off point. It is both uplifting and reflective, leaving the contrasting emotions of a lump in the throat and a smile on the face. Everything they’ve ever done, in a nutshell.

Jehnny Beth and Johnny Hostile have crafted a great record, which is more than capable of carrying the Savages legacy on its shoulders.

For in spite of the occasional loss of focus this is a sonic melting pot, welcoming all styles and colours that interact with the legendary producer’s instincts. If only life itself were so inclusive.

If this is the type of work Kaytranada can produce with no lyrical contributors, then this reviewer would happily have three more albums in this format.

Flux is a qualified success, then – an ultra-cool album of moody music to listen to in ultra-cool places. Even if you might not be emotionally heated by the end, it subtly makes its mark.

On the surface, The New Eve Is Rising may seem simplistic and derivative. Yet spend some time with it, and its complexity and originality soon surface.

Over the past eight years a strong case has been made for Tyler being the most interesting figure in modern rap music, and despite the low-stakes presentation Don’t Tap The Glass furthers this case with its inventive arrangements, fiery verses and club-ready production.

Ultimately, this isn’t a classic Alice Cooper record by any means; it has a few good songs here and there, but nothing canonical. But, if the point is to document a bunch of old friends getting together and doing the thing that gave their lives meaning, and sounding like they’re having a blast, then it’s mission accomplished.

Overall, Veronica Electronica justifies the hype, bringing us an artist at her peak seen through the lens of well-chosen remixers. It is the ideal companion to Ray Of Light, her alter ego emerging from the darkness of the club to a moody but ultimately uplifting soundtrack.

It’s a pleasing touch that, even with a megastar like Buck present, Haines never dilutes his vision – this concluding part of the Haines/Buck trilogy is as satisfyingly off-kilter as its predecessors.

Swag is a perfectly decent record, albeit one that lacks lyrical flair, emotional depth or any sense of responsibility.

The songs where Burna Boy focuses on nimble flows and minimal production, like Dem Dey and Kabiyesi, are far superior. He’s a versatile, engaging performer, and No Signs Of Weakness is at its best with no distractions.

It wears its heart on its sleeve, and is relentlessly inventive. It’s the sound of an artist continuing to evolve whilst encouraging anyone who is lucky enough to encounter their work to follow suit.

The only issue with My First Album is that it sometimes feels a bit unfocused, and the tonal shifts the record takes can become a bit jarring.

It makes for an excellent reintroduction to an artist who proves that her music knows no boundaries, be that linguistic or otherwise.

It is most satisfying, then, to report a welcome return to form for Rival Consoles, delivering a strong album that only gets better as repeated plays unlock its twists, turns and multi-level vistas.