Tiersen’s gamble with electronics pays off handsomely, the listener rewarded with a lingering insight into his world. A beautiful hour spent in the company of a fine musical mind.

Enjoy The View will undoubtably please the army of existing Jetpacks fans, yet tracks like Fat Chance could well bring in some new fans. Few bands can still sound on top of their game after 18 years or so, but We Were Promised Jetpacks do, and sound like they’re more than ready for the next 18 years too.

There are times on Texis that not only do some tracks remind you of previous records, but of previous tracks on the very same album. It’s formulaic, but, as the phrase goes, if it’s not broke, don’t try to fix it. There’s little evidence that Sleigh Bells will need fixing anytime soon.

Much of what follows is vintage Stranglers, incorporating tributes to their departed friend. These are done both explicitly (the touching song And If You Should See Dave…) and by association (This Song).

It’s not quite her Blood On The Tracks, but it’s a record that’s similarly compelling to listen to.

While he’s sounding as bold and varied as ever, White’s songwriting feels a little less focused, with tracks like the seven minute opener and single Genuine Hesitation and Take Your Time (And That Orange To Squeeze) tipping over into self-indulgent dirges.

Common raps with the calm contentment of a man who’s reached his destination, and it certainly sounds satisfying.

It is neither their most immediate nor their warmest album, yet its provocations are effective, and become curious and complex in light of the melody and harmony that sits above them.

He’s going for a darker sound, one which explores different themes than he is used to, but some of the resonance is negated by a reliance on grandiosity. Some judicious editing and pruning might have been preferable.

There’s no sudden rush or instantaneous hit, but that’s not the point. Its hazy, dreamlike and enveloping charms unfold anew with further layers of melancholic woozy, summery beauty each time, as you contemplate about contemplation. As it all forms into focus, and the dots connect, you’ll find that I’ve Been Trying To Tell You is yet another fine addition to Saint Etienne’s soundworld.

Yet another unimpressive, tedious release.

Senjutsu is Iron Maiden’s strongest offering in some time, looking forward whilst occasionally peering back over its shoulder. In tone it’s the band’s darkest album, but the sheer coherence and confidence of the playing, writing and production makes it feel filled with light and positivity. There’s conflict all over the album, but this is the sound of a band firing on all cylinders.

Despite its occasional uplifting moments, the overall feeling you get from Ultra Vivid Lament is indeed a lament for something better, something briefly promised by Resistance Is Futile despite its title sounding more Borg-like than Star Trek character Seven Of Nine.

Though this isn’t a complete comeback, frustrated Kanye fans certainly have more grounds for optimism after this record than they did before it.

Culled from various single B sides, radio edits and with two unreleased tracks bolted onto the rear, the band’s musical cauldron appears to be simmering over with malevolent goodness.

Looking back on traditions of the distant past and moulding them within a modern sound and context, it marks a striking release from an artist that is still surprising and innovating deep into their career.

Orla Gartland recognises this and knows she’s just like the rest of us, embracing our imperfections and focusing on self care and emotional transparency. If you’re feeling the same way then this is a smart and considered alt pop record that cuts deep and promises a bright future for a new star.

A singular, striking piece of work from an artist on top form, this record is not to be missed.

Chvrches are in a comfy place at the minute: their sound isn’t all that new or exciting anymore, but it’s still as enjoyable as ever, with more anthemic lyrics and shiny synths than you can shake a memory stick at.

This might not be the album that everyone wanted from Lorde, but it’s a solid, dreamy effort that deserves exploration. There’s plenty here worthy of attention if you can focus for long enough.

At 50 minutes it sometimes feels like some editing could have been applied a bit more judiciously. Yet that’s a minor criticism, as there are enough high points here to build on the success of AAARTH.

This is an album that demands to be properly listened to though, not reduced to background music – properly immerse yourself in Villagers’ Fever Dreams and it’s an experience you won’t want to wake up from.

It may be an album that’s been borne out of darkness, but as another Canadian wordsmith once sang, there’s a crack in everything, that’s how the light gets in. There are plenty of cracks here – the joyous bounce of Sometimes, or the calm optimism of the title track – to show that Wainwright herself may have been reborn from the personal trauma of the last few years.

Pressure Machine is a decent attempt at a concept album of sorts. Some mountainous peaks would take it to the next level; without them it feels as though it could soon, somewhat disappointingly, disappear.

Native Sons is a surprisingly great piece of work by a band who know how to please their fans and accidentally make new ones.

Although none of the tracks on Welcome 2 America stand up to Prince at his mid-late ’80s best, there are some songs which come close.

Liars have not only been reborn creatively, they’ve emerged with by far the most accessible album of the band’s illustrious career to date.

Mackenzie Scott seems to have reached that stage of her career where she’s just happy to please herself, and it’s resulted in her best album to date.