These People is a mixture of epic ballads harking back to the sound of the Verve and attempts to move forward with rather half-hearted electronic pop. Despite some beautiful moments, Ashcroft seems to have fallen into the gap between the two.

It may be true that Oh No doesn’t quite match the mystery or depth of her debut--it’s all very transparent and above the surface in comparison--but it offers enough proof that the overt, more soulful qualities demonstrated on this album should serve her well for some time yet.

For an album that started out from just a very simple phrase, it is remarkable just how complete it is.

While the impressive Himalayan featured six tracks over four minutes long, By Default sees this length exceeded just once, concentrating more on short, sharp power punches.

Like so much of this vibrant, engrossing album, [Flesh And Blood is] full of the childlike joy and wonder that Orton has spoken about; a delightful return.

Skepta and UK grime’s resurrection has been one of the most exciting musical sounds of the past few years, and rather than being the climax, you get the feeling that Konnichiwa is just the start of something special.

Fresh, exhilarating and mesmerizingly addictive, Means is neither a limousine nor a Mini--it’s a triumph from start to finish.

There’s not a bad track on British Road Movies, and those who have been pining for years to hear Jackson’s voice again will be more than satisfied. It may not be the return of the Long Blondes, but this could evolve into something even better.

Throughout his sounds have poise and power, and although the album is too long it does not often flag, for he is careful to fluctuate the colours used.

te. For the most part Strangers succeeds because of its strangeness, but when that strangeness slips, the album as a whole does too.

There’s a new sense of optimism shining through the songs, especially on tracks like Hey I Won’t Break Your Heart and Tell Me, but it’s always tempered by a wistfulness that only experience can bring.

The result is a staggeringly impressive and confident third album from an artist who has reached the very peak of his powers.

As good as it occasionally gets on I Hear You, the continuously tuneless wail of the vocals are likely to be where the record either succeeds or fails, depending on how much emphasis the listener puts on the vocal element and whether or not they can see past the often painful experience. If only Mr Birdsong had been given lead vocal duties instead.

Eagulls have not just expanded their sonic palette, they also explore far weightier questions about life through their lyrics. As a result, the record instantly comes across as a more advanced and mature proposition compared to its predecessor, which was more interested in instant thrills.

With all matters of the heart explored in extremely intimate detail it sees Beyoncé back on top of the pop world ready to slay like only she can.

A definite case of still waters running deep, Nerissimo is a quiet work of craft by two musicians entirely happy to follow their own instincts. Like Spinal Tap.

It is delicately shaded and tells us more of her hopes, dreams, fears and feelings than any interview ever could. It is this direct communication with her listeners, coupled with the strongest of loyalties to her underground heritage, that makes her music as strong as it is.

Everybody’s Heart Is Broken Now resolutely clings to the idea that faded memories can be given vibrant colour through song and that music preserves inner tempests and dreamed oases in amber--and for the most part it succeeds as evidence of that.

The Ship proves he has more ideas than ever, and shows there’s still plenty left to be achieved in music.

Iit’s not a huge leap from previous albums The Magic Place and Nepenthe, but the overall sound is richer and lusher than ever before.

This is as compelling and coherent a collection as they have ever made. It’s a record that you can delve deep into and really inhabit; everything’s in its right place.

Despite some intriguing musical excursions though Views is very much the Drake record in excelsis. It’s staggeringly long at 20 tracks and 80+ minutes, and is a grind for even the most ardent fan to get through.

There is nothing particularly ground breaking or original about Solar Bears, and their music can feel a little samey at times. Despite these shortcomings, Advancement is still a thoroughly enjoyable, lushly textured record that rarely fails to absorb.

It’s a strange album that is melodically approachable, but lyrically draining.

Such a musical melting pot can easily turn into something inaccessible and lifeless, but that’s never the case here. Skill, knowledge and passion clearly inform what this band do, but what comes across most strongly is a sense of joy, and that makes it difficult to feel anything other than wholly engaged as a listener.

The more you let yourself bathe in this unsettling aural shower, though, the more its weird beauty will captivate you--the sort of album you’ll keep coming back to without quite knowing why. If you’re willing to invest the time, this is the most beautifully strange journey you’ll take all year.

Fever Dream won’t change the world, but it may seem like a slightly more comforting place as you listen.

A whirling dervish of an album, and a culmination of all their previous hard work, Nonagon Infinity is the sound of a band at their wigged out best.