The album feels as much a personal exploration of Adigéry’s own heritage and life experiences as it does a commentary on social attitudes. But, most importantly, it establishes Adigéry and Pupul as a real force to be reckoned with.

It’s a richly realised record and one that is as powerful a statement in support of Case’s measured musical expertise as it is her long-established prowess as a lyric writer.

He embraces the role, plays up to it, uses it to bend and manipulate the parameters of modern rock music and has managed to create something bitingly acerbic and cynical, yet achingly sincere. Again.

Arguing which record between this and U.F.O.F. is better is pointless. They are two sides of the same sovereign coin, all it proves is 2019 is Big Thief's year.

Rodriquez’s most cohesive and ambitious work to date.

Fir Wave should represent a clash of styles – between Peel’s 21st-century toolkit and Derbyshire’s early-70s equivalent – but instead, there’s a deep sense that the two women, generations apart, are in tandem.

Barrett has moved away from the big city, but small-town living has inspired his most accessible work to date.

Home Video is intimate, occasionally discomfiting, and, most of all, brave – the sound of an artist choosing to be at her most vulnerable, in front of a bigger following than she’s ever had before.

It's a mature album that is more likely to make you lean in to hear (as with the loud/quiet dynamics on Become The Earth) than beg for your attention. But there's ample reward in giving a little time to Feist.

Lonely People With Power is their most sonically-rounded record, probably their heaviest and quite possibly their best.

Reflective and funny, Yo La Tengo would be forgiven for recording endless victory laps at this point. Instead, they continue to defy.

Whether shouting over martial drums, whispering behind thick, smoky synths or rapping against a razorwire guitar, URGH is an exercise in harrowing noise; unapologetically visceral and all the better for it.

BadBadNotGood have packed more than a dozen little viruses into this disk, and once you hear it, you’ll be spreading the ill, too. Beyond the voices, the music is rich, textured, melodic, and always groovy.

I Don’t Live Here Anymore, is their greatest and grandest statement yet. Adam Granduciel’s obsessive nature when it comes to making records has paid off as the Grammy winners' fifth studio album is another triumph in sound.

This is a stunning vocal experiment, one that constructs immaculate, dreamt and abundant worlds.

Although refusing to be pigeonholed, the album hangs together effortlessly and each part feels as vital as the last; despite its 17-song length, it’s hard to imagine Yanya’s vision without each one of these tracks.

Where Ugly Cherries felt spontaneous and carefree, Pageant feels more mature and considered.

It’s here to piss off metalheads, push boundaries and showcase that BMTH are certainly not one-dimensional.

Mise En Abyme is a lot to unravel, but that disentanglement is its own reward. Cousin has plundered his experiences to create a yearning LP that nevertheless feels welcoming (and, more importantly, honest) every step of the way.

Remarkably generous in its open nature, it further cements Jacklin’s place as a future alt-country great.

Yellow brims with kindness and connection through its musical messages, reminding us refreshingly of what it is to be a human among humans.

While it lacks the truly avant-garde attention of her previous record, trip9love…??? still contributes to her tripped-out, sensual surrealism with the intent of an artist willing to unfurl. In a carefully improvised moment of surprise, a definitive auteur of the modern feel decided to waltz into the centre of the dancefloor and yearn through that great release.

Pasar de las Luces is over an hour in length, and while it is immersive and layered enough to justify a long run time, it still feels overlong. Nevertheless, it's a thoughtful and aurally beautiful album.

This is still the band we fell in love with over a decade ago: confessional, honest, enthralling. It's just that this time out they're sleeker and sharper than before.

A well-crafted album.

Aartfully collected set of recordings, one that never ceases to make you shift your weight, either into comfort or something more unsettled.

Shygirl has created a project that screams for attention. It slithers through a jungle of sound. Tracks reminiscent of a shattered lullaby, or a disjointed reflection on a past relationship. Shygirl has basically created an entire genre all her own.

Arab Strap’s first studio album together since 2005’s The Last Romance is marked by a feeling of not quite-ness; everything’s there but it just doesn’t quite click into its potential at many points. A good half of the record treads in similar ground to opener and comeback single The Turning of Our Bones; drum machines, faintly angular guitar arpeggios and Moffat’s largely spoken dissection of middle age.