Suddenly finds Snaith in his element, writing beautifully endearing tunes and setting them to multi-layered production in a way only he can, and the results are spectacular.

Overall there’s a risk it may ultimately prove too personal and introspective a listen for some.

In the right London bar, on the right night, bands like this can change your life… but for everything else, there’s much more joy to be had in the originals.

For someone as forward-thinking and experimental, playful and funny as King Krule, Man Alive! is just too dull of a work to celebrate.

Cape God has an experimental edge to it that makes it one of the most delightfully weirdest albums of the year.

Overall, this is just another Ozzy Osbourne solo album, for better and worse. It succeeds in its rawness, its slapdash cobbling together of predictable riffs and lunatic poetry.

There are many joys to be found within its brittle, opaque sounds but it’s undoubtedly an album that must be lived with for an appropriate length of time for these to fully surface. Yet, this isn’t a bad thing.

This is a spectacular, rich and luscious album made up of a variety of sounds that many listeners will have etched into their minds and hearts forever.

Ultimately, the whole album is a triumph of collaboration and should be seen as a celebration of the artistic vision of Rob Marshall. There’s not a misstep on a single track, and there’s a depth here that rewards repeated listens.

This is now their third consecutive release with the same line-up, after a period of instability threatened to sink the band. It’s also their most focused album since Tomorrow’s Hits, and it might be their best since then too.

Despite it taking four years to come out, pretty much all of the songs on Always Tomorrow are forgettable, and made up of riffs so basic and hooks so anonymous that you’ll probably end up wishing they’d have waited a little longer.

A curious mix of musique concrète, poetry and Ranaldo’s longstanding metier, avant-rock. The near-absence of guitars means that there is a sparseness to some of the tracks, but the prominent percussion, combined with samples and effects, makes for an industrial feel on many songs

A Pilgrim’s Tale admirably tells of a fascinatingly swashbuckling adventure into history, but in shining a light on the fate of this people it contextualises how so often that history is authored by the victors.

Green Day have become the very thing they once despised: buck-chasin’ mild boys of mayonnaise corporate rock.

Whilst the songs can feel painful and direct, there’s also a sense of euphoria and celebration here too, and the overall sense is one of healing and catharsis. This is Frazey Ford’s best album to date but it really feels like she is just getting started.

Those that have heard lead single Yummy will essentially be able to form their view on Changes without listening to it: if they find it icky and monotonous then that will be how they perceive the whole album, whereas those that think it’s catchy and well-produced are well and truly in luck.

Have We Met is one of Bejar’s most interesting so far. But the grating oh-so-indie-look-at-me lyrics bash against the beauty of the beats. Maybe, just maybe, Destroyer should focus on soundtracks from now on.

Loom is an intense record, full of feelings of loss, confusion and angst. It’s also an early contender for best electronic album of the year.

It’s amazing how true auteurs constantly shift their attention, shift their style, but always retain a razor-sharp focus on the artistic integrity of their projects. Kevin Parker is a true auteur, an artist who has moulded pop music to match his incredible vision.

Its genesis was borne of urgency, and that’s a feeling that permeates every aspect of an album that positively twitches with energy.

What we’ve got now is a world full of millennials that have grown up to make art about these injustices. HMLTD have done just that, focusing their trials and tribulations through a magnifying glass to burn us mere ants. And oh, how I love a bit of self-immolation.

Supervision is at times frustrating – an avoidable misstep here, an overindulgence there. But it also contains some of La Roux’s best music to date, music that’s witty, danceable and endearing all in one.

These are songs to throw yourself around the moshpit to – it’s the sound of a band realising their potential and loving every minute of it.

The pop souls of both its creators couldn’t help but surface, and this is manifestly true of many of the tracks: the words may be dark, but the upbeat hummable melodies just keep on returning from the crypt.

Silver Tongue is her most consistent album to date.

It’s true that the steady pace of the album may turn some people off (there’s barely any percussion to be found on the entire record), but for folk fans especially, there’s a rich vein of history mined on Bonny Light Horseman that makes for rewarding listening. Some songs, after all, are just timeless.

Euphoric, danceable and smile inducing, this strong work is one of the purest and sweetest albums in a while, and from a band at the top of their game.

When We Stay Alive is an illusion of a record but, once explored, an apparently endless labyrinth unfurls.