While not life-altering, how i’m feeling now is fun, fast and thoroughly listenable. It’s absorbing as a document from a strange period, and its diaristic, vloggy aspects provide an intriguing peek into artistry under pressure.

It is decidedly pop in parts, both accessible and innovative, reaffirming Hubbert's standing as one of Scotland's finest and most treasured artists.

Tal National's sound fabric on new album Zoy Zoy is intricate and colourful. The music turns in wild and unexpected directions as psychedelic hues emerge and patterns form that may not have previously seemed possible.

Atkinson is a masterful, creative collector of such sounds, and she deploys them judiciously to great effect in her work. The Flower And The Vessel is no exception.

Up to this point, Hopkins is best known for the work he does with others, as an arranger for Coldplay, an in-demand producer and a talented collaborator, but Immunity is the record that defines him. You'll be blessed if you hear a better album of electronic music this year.

All in all, Instrumentals 2015 is an admirable piece of work from a man who seems to take direction from few others.

With less decay and bleed coming from the guitars, Sonancy benefits from a greater degree of separation in its instrumentation. Consequently, every track gets to breath. There’s little stifling claustrophobia at play here and much like the psychedelic experience, the music reaches and stretches out for a greater truth and space.

Boy confirms that Bozulich is at least as good as Cave or Waits at contemporising the blues, at crafting bold, gritty, assertive art that is enchantingly oddball yet still accessible, not to mention infinitely rewarding.

Anxiety's Kiss will be the record that will garner this humble band the respect they so justly deserve.

Poison Season is a luxurious creation, dappled in sunlight, and summoning all the redemptive power of pop.

Through Obel’s breathtaking vocals and ethereal piano and cello compositions, Citizens of Glass succeeds in creating a welcome musical space to escape the observations of ourselves and others.

The bending of time and place and sights and sounds across this record leaves the listener with plenty to digest and a lot to be excited for with what’s to come from Squid.

It is the sound of a musician coming to terms with the excruciation of making art and exposing himself without armour.

Nothing is a stark record, and I imagine not one that will be ringing out of club PAs on a regular basis. Instead, it joins the impressively swelling ranks of dance/techno/electro/house albums that reflect the inner workings of the individuals creating them.

Mirror II sounds so much more sophisticated, self-assured and, dare I say, grown up.

While Metallic Life Review is both intricate and sentimental, it also sparks, bounces and refracts as all that is metallic melts into cascading rays of sound.

There is definitely room for some trimming. A third could easily be trimmed without damaging the listening experience too much. At the core of Face Stabber is a fun album that gets better with each listen but when it drags, and in places it does, it feels like a laborious chore to get to the good stuff again. The album lives up to its name. From the moment it starts it is an unrelenting, and visceral, album.

Partners is another triumph in Broderick’s career. It will simultaneously disorientate and captivate; it will feel both familiar and unlike anything you’ve ever heard previously.

Clone have struck a good balance, and there is not a single bad track amongst the 13 included here.

Spike Field isn’t particularly immediate, but is the kind of album that sits in your mind: you come back to it and it surprises you in a new way.

Rather than sounding phoned-in, Melvins make this louche lack of effort seem joyous and energetic, and though it can indeed feel uncomfortable, there is a sense that that’s what they want. They were making in-jokes for themselves, and the fun sludge bits were just by-products. Nonetheless, this record works, and those who vibe with the arrogance and the spikiness of Buzz and co. will warm to being joshed a little.

Setting banjos and bonfires aside, the folk roots are now replaced by a rich baroque pop accompanying a dark ride inside Huebert's mind.

The tracklist, and the fleet-footed manner in which Halo mixes these selections, provides an excellent snapshot of 2019 dance music, one that is being propelled by a unrelenting tide of weirdness. It never quite reaches superlative highs or lows but it ticks along tirelessly, getting better with repeated listens.

Mitski’s devotion to music has resulted in a tremendously earnest and endearing record.

There’s an ancient sense of purity to this music which seems a cut above any similar projects.

Carpenter, Cody and Davies have united to form an extremely tight, polished and powerful piece of thematic music with the third volume of Lost Themes. With much less to focus on then a full-length feature Carpenter really elevates and draws the most out of the fewer ingredients he works with and in doing so, truly distils the essence of his craft.

Seeds is the most streamlined, most polished, most sharp-edged album of their career. And yet it manages to retain their trademark schizophrenia.

The Age of Immunology finds the group tightening some bolts and adding depth to their mythology, and it’s really quite a treat.