Across nine tracks both men stamp their respective identities on the album, with mutual admiration and respect echoing through every bar. The occasional Kinksian flourish sneaks through the speakers, most notably when Dave sounds uncannily like his elder sibling on King Of Diamonds, but in the main this is a generations-spanning love letter written in familial blood.

Despite this widescreen approach, Resin Pockets never once loses focus--though maybe there’s an argument for some stronger rhythm, to give more drive--but perhaps that’s a casualty of such an ad hoc way of working.

Stewart hasn’t deviated from his love of pop music history. He understands its nooks and crannies as well as its hooks and melodies and handles them with reverent care.

Understandably ruminative in nature, it’s a renewed sense of creative vigour which provides the driving force on a piece of work which stands among the composer’s best.

IV is simply packed to its dank rafters with monstrous riffs, muggy low-mixed vocals and more discordant amp noise than you could shake a deaf stick at.

DAMN. sees the rapper make a 180 degree turn from the sprawling jazz/funk/hip-hop odyssey of TPAB to deliver 14 taut, tough and wise cutting-edge examples of what’s possible in hip-hop today. ... Essential stuff.

The meditatively plodding drums are off-putting if focused on too deliberately, but there is little else to fault here for those who like to zone out into infinity, with the 17-minute long closer being particularly peachy.

Charming, heart baring, polish-free and not buffed beyond recognition. Alive, basically. A pleasure.

In fully embracing his strengths, Cunningham has delivered his most fully realised work.

Seven albums in, Pond-life is exhibiting clear signs of accelerated own-terms evolution.

This is a proper major work, revealing an artist at ease with himself without resting on his laurels. In short, it is the sound of confidence. A Kind Revolution could well be Paul Weller’s greatest album to date.

Everything here is on point; every single element is executed with a stupefying mastery. Soaring strings, luxurious French horn, jangled distortion and purgative, unhinged vocals; all these things fuse together with glorious consequences. Utterly exceptional.

Her finest album to date and one to live with and cherish; that explains the name then.

Ridiculous and ridiculously thrilling, Super Natural reasserts Jones’ mission with riotous fervour.

With Morningside Murray has delivered on the promise of her early singles, creating an album that’ll be much-loved.

They don’t stretch their formula, but there’s little need when their galvanic velocity is this purposeful.

Particularly breathtaking are rafter-raising renditions of 99 And A Half Won’t Do, Out Of The Wilderness, Glory Glory Hallelujah and Move Upstairs, though everything is really ace here.

As long-time residents, the pair are understandably incensed and concerned over recent developments in the US, along with their city’s ongoing corporate makeover, translating their rage into a seething Xtrmntr for modern times that is undoubtedly their best, most relevant work to date yet.

You’re Welcome ups his game, injecting infectious doses of glam-punk muscle, melody and engagement into Wavves’ trademark surf-punk melees.

His voice remains distinctive though, and like all his records, Goths is worth hearing.

Sometimes chilly, this set has occasional echoes of Vince’s former bandmates Depeche Mode and this largely successful, surprise direction so late in their career is certainly welcome.

Throughout, G straddles clarity and complexity with deceptive ease.

While not as refreshing as the previous album, it still feels on occasion as if multiple pop crossovers could theoretically beckon, especially the songs fronted by guest vocalists, including Molly Schnick of early 90s riot grrrls Raooul.

Veteran Rolling Stones drummer, Charlie Watts sounds completely at home on Meets The Danish Radio Big Band.

Sadly, outside the context of the episodes, the actual ditties are only mildly humorous at best, and barely warrant more than one play through.

Baby Blue Abyss is a shape-changing beast. Styles vary, the approach is schizophrenic, but still the core of Baird and his scattershot mood remains.

[Trombone Shorty's] allusive, crossover style is a piquant marinade that blends Crescent City jazz with blues, pop, funk, R&B, hip-hop, and rock flavours.

Along with the melodic, melancholic vocal mumblings and minimalist drum beats, the overall atmosphere is that of a hazy, underwater dream.