An album this strong, delivered this late into an artist’s career, would usually be given an ugly tag like “return to form” or something equally crass. However, in Byrne’s case, it’s simply a continuation of what has been--and will hopefully continue to be--a glittering career full of highlights and continuations of form.

Not only is Gold-Diggers Sound the most cohesive release Bridges has put out to date, it’s also the most distinctive.

It’s a worldly record in many ways, and though the core tenet is of his personal feelings, it works just as well as you what you’d probably assume the record to be about--abandoned cities.

With Soft Sound From Another Planet, Michelle Zauner has moved beyond mourning to a solace far more celestial, communicating her grief through these poignant musical prayers aimed directly at the heavens and beyond.

Combining the pop world’s two biggest current loves--forward-thinking dance music and throwback soul/funk--Jungle are ticking every box on the ‘perfect debut’ checklist, and they’re doing it with pizazz.

While thank u, next is probably her best work – and it will probably remain that way forever – Positions is Grande’s most carefree, most playful, most mature work to date.

Playful yet profound, baffling but very beautiful, sticking with Panda Bear Meets The Grim Reaper until it reveals its full dizzying array of riches most certainly is [worthwhile].

With Älskar, Nina Nesbitt has profoundly demonstrated her knack at penning emotive, and sonically layered numbers that range from classic-pop to piano-ballad cuts.

Hell-On is one of Case's moodiest solo records to date.

McDonald, Thompson, and Hellmrich seem more artistically and energetically in sync than ever, reveling in their opportunities and impressive talents.

The album’s OTT closer “Sweetest Devotion” doesn’t really provide the conclusion you want either. Despite that, there’s a very good record in here, propped up by a some incredible modern classics (“Hello”, “Remedy”, “When Were Young”, “Love in the Dark”).

Surrender to the Fantasy is a timely reminder that Elisa Ambrogio and Peter Nolan are a truly talented pair of musicians, making some of the best noise-rock you’re likely to find in either the US or on these shores.

Like the tightrope act of love itself, Love’s Crushing Diamond perseveres through calculated effort never to offend or betray the trust of its betrothed listener.

Her vocal dynamism translates particularly well in rock-leaning settings, where her leaping registers make their way through enthralling kicks and mean guitar riffs.

Content wise, Glow is everything you could want from a dance artist’s debut album. It’s produced well, it’s cheeky in parts, dark and suggestive in others and varied enough in regards to genre.

Space is primarily given to the meditative on The Joy Formidable’s fifth album, a dynamic achieved without sacrificing the blisteringly euphoric appeal that has ensured their longevity.

By Night, apparently named due to the smash and grab nature of late-night studio sessions, is muscular, robust and takes no prisoners. It does its noisy thing swiftly, leaving you feeling shattered and somewhat dazed afterward. A perfect representation of punk rock in 2019, then.

The band demonstrate the excitement bubbling beneath the surface of the UK rock scene, ready to pierce through its thin veil at any moment – Reeling is that moment for The Mysterines, and it’s a debut you won’t forget in a hurry.

I'd Be Lying If I Said I Didn't Care is not an easy listen. It's a cold lake on a summer's day – not immediately comforting, but if you commit to the activity, you'll be unaware of how long you've been enjoying it. The overarching feeling of optimism keeps the record above water and prevents it from falling into an unenjoyable experience.

Musically and thematically, everything about Little Fictions’ gestation has conspired to create arguably the most taut and urgent album of Elbow’s career.

Now in their third decade the song remains the same, but on The Waiting Room Tindersticks still sound so out of time that ironically their music feels neither dated nor futuristic, it just is.

It’s a bunch of great dance tracks that should preserve their live sound in its natural habitat.

By turns infuriating and intoxicating, but swaying strongly in favour of the latter, Little Sand Box ultimately suggests that maybe those promoters were in the wrong after all back in 1991.

When it’s not inclined to cast off into distension, Silent Treatment is robust, purposeful and precariously, hauntingly sublime.

Lovegaze treks further into the shadows to present a murkier, more mysterious sound, full of fog and strange potions, while still remaining rooted in substantial songwriting. The end results are often disarmingly beautiful.

It’s hard to find fault with Bashed Out; timeless and completely modern all at once, Stables might have taken a little bit of time to hit her stride with This Is The Kit but this combination of players has helped her realise a vision of sorts: it’s as lucid a record as you’ll hear all year.

This latest collection pairs Isbell’s keen ear for catchy melodies with fuller, bouncier arrangements and more optimistic subject matter. The result is a record spattered with songs capable of bridging the gap between “alt” and accessible.

This message of positivity, strength and optimism is one that is weaved throughout each track on their new album Ash.