Startlingly original and yet somehow a nostalgic comfort in these worrying times, Roberts is one of the best we've got.

From start to finish Parasol Peak delivers a unique and fantastic experience that just has to be listened to in order to be fully appreciated. It's accompanying film is bound to be just as captivating.

You Might Be Smiling Now... is lyrically smart, funny, and terrifyingly relatable.

It’s a New Day Tonight is a highly polished vehicle that demands to be driven at twilight with the roof down, allowing for its passengers to drift off to the engine’s dulcet purr and the wind’s gentle caress.

The album does get a little bit repetitive towards its climax. Overall The National have survived their electronic ring of fire relatively unscathed.

Twenty years on, The Dears still have a vital, driving passion that deserves a wider UK audience.

Where Boy King explored the toxic expectations of modern masculinity, Punk Drunk... runs almost like a case study; a romantic encounter in microcosm.

Hope Downs is as good a reminder as any that life’s a blast. Head to the beach, you’ve found the soundtrack.

Far from the carnival of featured guests that was 2017’s 26-track Humanz, though, The Now Now, at 11 tracks and with only three comparatively unobtrusive features (Snoop Dogg and Jamie Principle appear on Hollywood) is tighter conceptually but looser as a listening experience.

A triumph for Anderson, it's a more than worthy addition to his extensive and revered body of work; after over a hundred albums, his reign as king is as secure as ever.

Edwards, Carla Azar and Eugene Goreshter have taken their sweet time, and Pussy's Dead is satisfyingly, luxuriously self-indulgent as a result.

A confessional album that owes more to belief and soul-searching rather than a sense of direction, Lotus sees Little Simz blossoming from a dark spell into new light.

One of the album's greatest strengths is how it incorporates these experimental choices into something very musical, although that does mean you do occasionally miss what's below the surface on first listen. Different things rise to the top the more time you invest in the record, so if it's not clicking with you immediately, trust that it eventually will.

Their newest body of work retains a fiery core, it also reveals a more pensive and reflective side to the band.

Like each of the other eight explosive and grinding grunge tracks that make up Heaven, I Feel Free works to wipe the slate clean and start afresh. Despite the ferocity, there is undoubtedly uplift woven into the very fabric of each of Heaven’s blistering tracks.

The band knock it out of the park with a magical cover of Unable by the elusive, long-defunct Suburban Lawns which makes a convincing case for their new sound. Much like their expeditious songwriting style, Snõõper are always moving forward at breakneck speed, unafraid to broaden their wacky musical horizons.

Aisles is a simple concept, executed spectacularly.

Americana is an album you’ll want to make friends with. If there’s ever been a moment in your life that Ray Davies or The Kinks made better, you’ll find joy here.

While pulling from here and there, what binds Sometimes I Might Be Introvert together is a flair for the cinematic and the result is an album that's both monumental and an innermost peek into Little Simz’s soul.

Dripping in catharsis that seems to pour straight from Danilova’s soul, Okovi is rarely an easy listen, even when it’s at its most accessible. But it’s also profound, and Zola Jesus’ most emotionally stirring record to date.

If anything, uknowhatimsaying¿ is a little more controlled than Brown’s previous record, and perhaps that’s the experienced hand of Q-Tip exerting influence. It does nothing to besmirch the crown that Brown has already claimed as his own – as one of the best, and most boundary pushing, artists in the rap game.

It’s an irony that musicians who regard pop with suspicion usually turn out to be quite good at making it.

All told, Death Song might be their finest hour.

It doesn’t present cookie-cutter visions of fear and insecurity to observe from afar; it crawls under your skin and drags them out to you--whether you want it to or not.

Overall, Black’s latest effort proves nothing less than a markedly ethereal romp beyond the traditional boundaries of pop, as its comic hints of electronica and rolling melodies lend it a profoundly cosmic air.

Forty years in and Nick Cave isn't showing any signs of slowing down, if any he's got too much creativity to try and contain within this album's ten songs.

The pieces as a whole feel fuller, and more ambitious than anything Roberts has done to date. It marks another stunning development in a series that remains essential listening.