As comebacks go, Dodge And Burn is a solid effort and possibly The Dead Weather’s most cohesive record to date. It’s just a shame that the band leave it so late in the day to delve into their box of tricks.

Emotion succeeds on its own terms, arguably remaining truer to the spirit of the era, not to mention Jepsen’s stated aim of taking the time to craft an album rather than rushing to cash in on a YouTube sensation.

What Disclosure have done really well here is kept with the style that has rightly made them huge, honing their songwriting skills further in conjunction with a group of very well chosen collaborators. Caracal, then, passes the test.

A few mis-steps aside, this is yet another strong showing from a band in the midst of a creative whirlwind, one that fortunately shows little signs of blowing itself out.

So it isn’t better than Swift’s album, as that would be a pretty hard album to improve on. What Adams has done though is to look at it through another prism, and created a pure break-up album.

Higher Truth may not quite reach the heights of his best work, but it ensures that Scream was no more than a blip in his solid back catalogue.

It’s the album that New Order fans have been dreaming of for years and it will no doubt be cherished. Even better, you don’t leave this album thinking it’s a good way to go out. For the first time in decades, you leave thinking: what a way to start.

While 2013’s effort saw some incredible peaks, Vile’s new album has managed to forge a more consistent collection of songs built around simplicity and a shrugged shoulder approach to lyrics.

This may well be Holter’s most accessible album to date, but it’s this very approachability that renders it all the more intriguing, drawing you in with open arms. Stately and serene, it’s a wilderness that begs to be inhabited for some time, a country you’ll be reluctant to leave.

It’s a very special second album that will resonate deeply both with early adopters and the wider audience that Ought will surely capture.

Contrepoint delights in its escape, and while it might be unhinged and unstructured at times, it is never anything less than intriguing.

This is more of a curate’s egg of an album than anything else.

It has a satisfyingly gritty texture, more stripped back than a Stones album, and reveals a surprising amount of vulnerable feeling underneath the gunslinger swagger.

There are some bumps along the way, though, with Art Deco and Religion sounding almost too lackadaisical for their own good.... That said, when she gets the formula right, the results speak for themselves.

Repentless does possess a few standout moments but, whilst Slayer’s return is welcome, there’s little here to suggest they’re ready to push on and dazzle their fans with something mindblowing.

Love + War is solid rather than spectacular, but contains enough promising signs to suggest his next album could be something special.

It’s a record that you have to take in as one complete whole. You’ll enjoy individual slices, but won’t be truly fulfilled unless you take a deep dive straight in and luxuriate in all its sonic weirdness and insane brilliance.

For anyone wanting something new, exciting, raw, intoxicating... then this isn’t for you. If, however, you know what you like, don’t like taking risks, want an easy life when it comes to spending money on music and are already a fan then you’re going to be satisfied with an album that probably ranks dead centre amongst their full catalogue.

Although he may never touch the glory days of his heyday again, there are enough glimpses of his genius gathered here to satisfy.

Her combination of interior logic and the immediacy of improvisation is also captivating. This is deceptive, singular and highly creative music.

Like Something Is, Coles Corner or Run For Me may have done in the past, Hollow Meadows is yet another impossibly accomplished record from one of our national treasures.

There is, thankfully, life in the old beast yet.

Faith In The Future may lack the life-affirming joie de vivre that The Hold Steady can invoke at their best, but if we’re to hear no more from them, there’s enough here to reaffirm faith in Finn’s future at least.

The album is no attempted revisiting of past glories but shows The View exploring a more varied sound with a mellower vibe.

With a couple of judicious tweaks to the song choices, this retrospective could have been truly great rather than simply very, very good.

Needless to say, Yours, Dreamily can occasionally represent a more challenging listen than other Auerbach-contributed music. Occasionally though, these guys soar.

It won’t be for everyone and there will be those who continue to look at Pete and Carl’s relationship with utter bemusement, but their songwriting prowess has ensured that the decade-long wait between albums has been more than worth it.

Whilst it hardly breaks new ground, either generally or for Barlow as an artist, Brace The Wave offers further evidence of Barlow’s core talents.