As the sprawling title-track brings the album to a close around the 67-minute mark, the heft of it all can feel overpowering, leaving you wishing for a more concentrated dose.

Although album five lacks the narrative that made ‘Konnichiwa’ so compelling (a victory lap for grime’s commercial renaissance, it also reasserted his DIY credentials), this sounds like a record from a rapper with gallons of creative juice in the tank.

A collection of gorgeous, sultry songs that contend with the angst of feeling like you’re the only person who is truly awake and alive in an otherwise sleepy world.

‘Every Loser’ is a present-day primal punk resurrection from the only musician qualified to make one.

A few indulgences like an ‘Auld Lang Syne’ singalong are the main gripes to dampen an otherwise monumental presence.

While they’re not bringing anything musically innovative to the table, they’ve re-packaged the sounds in a way that feels distinctly 21st Century. It’s extremely good fun and presented without pretence – and that feels like enough.

A departure from their scrappy origins, this record is a big, grown-up collection of forward-thinking rock gems. Sure, it might not be as chaotic or feel as grimy as what’s come before, but it’s a deliberately larger-than-life affair.

What’s most pleasing about this ‘…Mirror’ is that it reflects the original’s dark, experimental essence. It’s heartening to hear that, more than 50 years on, ‘The Velvet Underground & Nico’ has similarly venturous and intrepid descendants who still nurture its spirit.

The juxtaposition of the melancholic with the mellifluous melds majestically atop delicate lap steel, brushed drums and double bass on this country tearjerker.

If you've got patience it's a quiet joy; if not, it'll drive you nuts.

Geneva blossoms into an evocative, inspiring album.

Their debut buzzes with all the frisson of perspiring pre-teens getting their pseudo-sexual jollies playing Tetris under unmade bed linen; a sort of puerile Pavement with bigger laughs.

'Because Of The Times' cements Kings Of Leon as one of the great American bands of our times.

‘Flowers for Vases/descansos’ rakes back the debris and leaves Hayley Williams exposed. Sowing new seeds, it’s an approach that reaps rewards.

‘Glowing In The Dark’ travels through endless landscapes, erratically veering from sun-drenched psych-pop (‘Right The Wrongs’) to video-game instrumental weirdness (‘The Ark’) and acoustic bliss (‘The World Will Turn’). Vitally, though, its feet never touch the ground, and the illusion is never broken.

Accelerate is by some considerable distance REM’s best and most cohesive album since Berry left, and crucially echoes a time when they made their best music, if not necessarily their biggest-selling.

The irony of ‘Jump Rope Gazers’ is that as The Beths push themselves to do something different for album number two, they actually end up with the sonic sameness that the first record miraculously avoided. Only now do they sound like they could just be any other band.

It’s an all-enveloping record that puts the listener at the centre of the overwhelming intensity of Ferreira’s life these past few years – and offers a front-row seat to her wrestling back control.

Complex, original and even sincere, it’s a brilliant new departure.

Despite No Age’s enforced restrictions, they’ve come up with an album that--in its urgent, accidental variety--is far more exciting than the studied stylistic uniformity of most rock bands’ efforts.

A Bad Wind is a meticulously crafted album.

As Post tries new sounds on for size, some git better than others. Sometime it feels as though he’s still trying to figure this out as he goes. But it’s when he keeps things simple and goes beyond the clichés that he feels most like himself. ... Hollywood’s Bleeding is a playlist made for these times. It’s going to be huge.

There are just too many ideas for a first encounter. The good ones are special, no doubt, but a lot of the others are just other people's and lack the stamp of a band who know exactly who they are and what they're about.

It’s probably just a little too icy and detached to blow up in the manner of The Weeknd, Jessie Ware or similar indie R&B success stories, but Pull My Hair Back's pop sensibility renders it the most obviously accessible thing Hyperdub have released for a while.

And for her second album of Amos-aping MTV-branded Lilith Fair fodder, the barmiest, prettiest pretender to Tori's throne of corporate crackpot chic deals unashamedly in that tired and trusted heavyweight heart-tugging currency: relationships.

Just because it’s essentially heavy-metal karaoke, doesn’t mean you shouldn’t enjoy it.

It's warm, out-there pop that was worth all the care and attention that has been invested in it.

Phases is a deeply autumnal album, perfectly for listening to while strolling down dimly lit side streets with crisp leaves underfoot.