If it’s a stopgap between albums, so be it, but I’d wager Blue And Lonesome will stand out as more honest, more rousing and more representative of The Rolling Stones as septuagenarians than anything that might follow.

‘Broke Me In Two’, which you can already find online, is a good place to start if you’re looking for a sampler. Overall though, it’s a case of ‘good to have you back Joan’, and ‘next time, let’s have a bit more you and little less Lazar Davis’.

What works on Woman truly does with aplomb, but it arguably stands as the group’s least unique effort, and with some of that old punk snarl now removed perhaps they’ve lost some of that addictive danger.

This is the kind of record that inspires new listeners to explore unfamiliar sounds and musical histories; the kind of record that bodes very well for the future of British jazz.

Unfocused, inconsistent and underwhelming, The Heavy Entertainment Show is homogenised pop at its most stupefying.

It’s an ambitious and sprawling work that tackles some big topics, but it’s not fit to hold a candle to the likes of ‘Lemonade’, ‘Blonde’ and ‘A Seat At The Table’, all of which have furthered the cause of confessional R&B this year, and have done so while being resolutely down-tempo.

Beginning and ending on a high note, Hardwired miraculously leaves the listener hungry for more, following an all-out binge on some of Metallica’s strongest work since 1991.

Scratchy, inchoate electronics, heavy, almost-metal power gestures and subtle violin all conspire at different points to make this a beguiling artistic protest of an album, and singularly one of the most considered and thought-provoking records of 2016.

Calling this 'No Waves' suggests a symbolic sympatico bond between the duo, best evidenced by the graceful way that Gordon and Nace hone in on controlling this beautiful racket with apparent ease.

Despite the addition of new blood like Anderson .Paak on ‘Movin Backwards’ and Kendrick on ‘Conrad Tokyo’, the overall production, overseen by master cutter Ali Shaeed Muhammed, is unfiltered, choppy and distinctly reminiscent of the original Tribe sound.

Keys fails to emulate these peers and instead only succeeds in certain apt production choices and the partial development of her earlier sound. She becomes yet another voice unable to deliver its message.

The album can become at times feel too self-involved and unsettled, in regards to the fluidity of the tracks and the thorough examination of emotions, which at time has the tendency to sound a little forced.

Welcome To Sideways sits comfortably amongst older material, but is more regressive than revolutionary.

Romare sets out to bring in elements of his distinct sound from across his career always combining it with something fresh and invigorating. The fact that all of these elements come together into such an approachable and restrained album is quite impressive.

It’s refreshing to hear something different and altogether more interesting from a slighter older but no less exciting name.

Clocking in at 56 minutes, Primitives doesn’t overstay its welcome by overreaching yet it shows that Bayonne has more tricks up his sleeve, which he should easily be able to demonstrate in his live shows.

No one has travelled further than the band themselves. Yet it’s a journey worth savouring, with the renewed duo seemingly capable of soaking up all that life can throw at them.

Rather than risk nestling ever-deeper into their cushy role as purveyors of twee-approved, candied indie-rock, The Radio Dept. have opted for a collection of songs that is as decidedly unapologetic as it is cemented in political sludge.

Joanne is certainly not the all-conquering opus it was intended to be and will prove divisive, but it remains a daring and exciting record, delivered from one of modern pop’s most unique and singular voices.

Although this album does replicate almost everything they’ve created it has that sense of maturity about it, showing that over the sixteen years they’ve moved on from their rebellious teen stage.

Sleigh Bells must be applauded for their experimentation on Jessica Rabbit, and it has provided riches, but as with earlier releases, the main weakness is a lack of emotional scope and pace over a course of an entire album.

Lady Wood proves Tove Lo is one of the more interesting characters in what is often a personality-less genre, but unfortunately, her unique perspective is diluted by fairly humdrum electro-pop production.

It’s an accomplished if somewhat safe set of songs; a JoJo on the cusp of finding her range.

Ultimately Soft Hair is the sound of two musicians filling in each other’s blanks while only seeing the best in each other. When it works, it’s captivating.

Yes Lawd! is a feel-good album that isn't afraid to take a step back and reflect. NxWorries brilliantly capture the sense of being carried by the whirlwind of success--disorientated and bewildered but enjoying the ride regardless.

A welcome reminder that Lambchop are just as vital as they’ve ever been.

The criss-crossing sounds better than ever, and is everything you’d want from a FaltyDL opus.

For the most of Friends, though, this is White Lies doing what they do best. There are huge choruses, soaring, ethereal melodies and that distinctively glistening ‘80s production. However, you suspect their formula may need to be tweaked substantially if the band are to avoid self-parody or burning out in the future.