It is a celebratory record, a special piece of work with deeply thought sentiments that leave a mark on its audience from the first listen to the most recent. The rich orchestrations celebrate the world around us, discovering it to be far more colourful and expressive than we could have dared expect.

Both music and subject matter are sometimes claustrophobic, but the whole of Kitchen Sink is infused with a humour and empathy that opens the album out. It might be on point, but it never feels overly worthy; it’s a truthful account told in engrossing style.

Schneider’s assessment of the impact of digital advances, while pessimistic, is not without nuance. ... Schneider is capable of breathtaking beauty as a writer – unafraid of exploring direct melodic communication and stirring arrangements. There is also plenty of subtlety and nuance in her writing, so this communicates honesty and sincerity more than earnestness.

The National were worried that they wouldn't be able to follow up Alligator, that fans would be disappointed. Boxer proves their fears ungrounded - and that Alligator was no one classic wonder.

A bold, energetic collaborative record. ... If another project were on its way with a bit more polish and focus that would be ideal, as the two certainly have a madcap chemistry that deserves to be explored further.

This album feels perfectly formed as it is though.

The use of the church organ is a particular masterstroke and it imbues Hecker's compositions here not with grandiosity, but with a sort of faded grandeur that chimes brilliantly with his familiar themes. It also offers a superb range of texture and sound, sometimes attacking and aggressive, at others soft and warm.

This record, more than any from their back catalogue, is a slow burn. It doesn’t have the spiky malevolence of North American Scum or the punchy pull of Daft Punk Is Playing At My House, but it does have depth to spare. Sonically, it’s the richest record they have produced.

We Will Always Love You is an emotional rollercoaster, and a lovingly put-together tapestry that signals The Avalanches entering the 2020s as vibrant as ever.

She’s adept at building a vibe with subtle unfurling layers but the songwriting is sometimes less of a priority, especially in the second half – this stops the album being as dynamic as it could be. Nonetheless we have sparks of inspiration, an appealing vocal register and more infectious rhythm sections than one can shake a stick at, which surely portends a warm reception in the club scene.

Without a doubt, the hooky riffs and unforgiving pace make it a fantastic rock album in itself, but only Fucked Up would chose to play out a tragedy to this soundtrack.

To those of you out there who crave immediate, wistful pop music that will make you smile about the future and make you cry about the past, you won’t find a better album this decade.

Even with 14 tracks, Blue Rev never seems to outstay its welcome. That’s probably helped by some curveballs that the band throw.

It’s an album that’s easy to feel intimidated by at first listen, due to its sheer scale and ambition. However, after a few listens you’ll be in no doubt that Genesis Owusu is one of the most exciting names of the year.

Displacing the emotional in favour of engagingly tenuous perspectives, this precariously magnetic album, much like the contents of Dourofs, will absolutely floor you.

The Underside Of Power is righteous, vicious and vital. If the world is a stage, then at the moment it’s hard to think of a better house band than Algiers.

Another album imbued with wisdom and sharpness of mind, undoubtedly music for the slow lane. As a writer of quasi-autobiographical songs that offer uniquely considered observations on human relationships and general life detail, Gold Record proves he’s moving into a realm of his own.

An album that consolidates and enhances Billie Eilish’s reputation as one of the stellar figures of her generation.

A definite case of still waters running deep, Nerissimo is a quiet work of craft by two musicians entirely happy to follow their own instincts. Like Spinal Tap.

There may not be too many surprises on Get Up Sequences Part 2 (and it works perfectly well as a double album with its predecessor), but there doesn’t really need to be with The Go! Team. It’s the usual shot of audio adrenaline, and they still sound as life-affirming as they did nearly 20 years ago.

Poison Season is another excellent Destroyer album, packed with songs that are graceful, beautiful and, yes, hummable.

If you admire The Knife’s music for its incredible unpredictability and off-the-scale inventiveness, you are likely to consider this to be at least amongst their best work yet.

When the album comes to a close--with pulsing bass and swirling vocal layers slowly fading out--it feels like the end of some strange Odyssean journey, one that you may want to embark on again before long.

Rooks is a hugely self-assured and often compelling album, which looks outside of the world of modern man for inspiration, and in most cases, finds it in spades.

Badbea, then, is a spirited and triumphant addition to the discography. It puts a smile on the listener’s face, will make their feet twitch and will on occasion bring an affectionate tear to the eye.

Amazones Power is a frequently thrilling call for change, a demand for action. It’s also a successful album on multiple levels that hopefully will help bring improvements to the lives of those in need.

At other times these arrangements can feel a little staid, but that doesn’t keep Weather Alive from being an engrossing listen especially as Orton dominates the proceedings so expertly.

Kendrick’s lyrics are as erudite as ever, and he has thankfully backed away from the excessive voiceplay of DAMN., though a few tracks could have been cut to create a more consistent listening experience. That being said, Mr Morale & The Big Steppers should be applauded for its intimacy, a remarkably detailed self-portrait of his unique, troubled mind.