The 24-piece choir which accompanies most of the pieces here are a lightwave beam keeping the listener afloat, yet it's Coltrane's own vocals which resonate the most deeply.

Eleven great tracks out of twelves is a handsome return though, and the listener must surely delight in the fact that Harvey isn’t done with Gainsbourg just yet.

Ultra is, at first, quite hard to get your head around. There’s a lot to take in over its 50+ minutes, not so much in the With Love sense of sheer musical volume but more in the new ideas and stylistic left turns that find their home on the album. Leave it to sink in, though, and Ultra works fantastically as an album experience, with sequencing that sees the level of intensity wax and wane as emotions freeze and thaw.

Wilds feels like a homecoming for a band that was doing the 60s-influenced, boot-fair futurist thing long before it was cool. What a treat to have them back.

Tinariwen's Tassili may not have the distorted guitars of previous records, but the acoustic recordings suit the contemplative mood and makes for a powerful return to their roots, as the musicians' circumstances, like getting lost in the desert, go in circles.

Wyatt has sustained and continues to sustain himself with quality, idiosyncrasy, and integrity over so long a time, as these eight sides so amply demonstrate.

More richly-nuanced than Mastermind and far trippier than 4-Way Diablo, Last Patrol sees the elder statesmen of stoner rock back at the very top of their game.

The raw and at times, ferocious navigation of the album soars in its earnest delivery and marks a career-defining release for (Sandy) Alex G.

With Sallows, Mayberry and Psutka have crafted something deeply human and eerily, beautifully contradictory, like meeting someone you already know for the very first time.

The Childhood of a Leader opens up further notions on the increasing use of mise en scene within Scott's music as well as positioning himself as a modern composer utilising cinematic techniques within narrative frameworks. It is an unexpectedly urgent addition to a master's late period canon.

In its 58 minutes length, Grey Tickles, Black Pressure notches up fourteen masterful tracks with no down-swing, enchanting the listener until the very last words, "love never fails".

Nothing here is complex or highbrow, but instead filled with the joy and clarity of understanding and connecting.

Beyond the impressive list of guest stars though, this is an album that reflects on one person’s history and is steeped in honesty, grief and empathy as a result.

Mangled and volatile and filthy though it may be, Jummy is deeply refreshing.

I AKA I is eclectic and forceful, but always at the service of melody, atmosphere and, if you listen hard enough, emotion.

What makes Jane Weaver and Modern Kosmology such a joy is that it comes as sharp and welcome relief to so many of the serious and po-faced purveyors of cynically cosmic vibes. This is music that simultaneously celebrates and explores, that takes pop as its foundation and then builds a multi-layered space on it that welcomes one and all.

This ego-stripped project may not be to the liking of some of his original grime fans. But at this stage, Stormzy is aiming to break boundaries both materially and spiritually. He achieves both on this new album.

With Archive Material, Silverbacks bring so much fun, personality, and excellent musicianship across their songs. It’s a record that, once again, confirms a bright future ahead.

It's both texturally ravishing and textually fascinating.

It's a cavalcade, certainly, but a thrilling one which feels like the proper realisation of Adebimpe, Drucker and Patton's quixotic talents combined.

Ekstasis is ecstatically good.

If Konnichiwa was Skepta’s coming of age, then Ignorance is Bliss is a comfortable consolidation, one that hints at the changes in the artist’s life without ever delving deep in. Nonetheless, the project comfortably asserts his place in the current moment as a unique figurehead of UK culture, possessing artistic ability in bags and a persona that suggests far more to come.

In moving away from the vestiges of full-on noise that defined his previous two albums, Luke Younger has paradoxically come up with a work that packs more punch than either.

Fans of Nick's previous work should feel right at home; it's livelier and more overtly catchy than anything in his catalogue, but at its core, much of Anchor is a refinement of the things he's done well in the past.

For a fan it's fascinating stuff, a parallel universe of unfulfilled potential.

Unlike the cohesiveness of earlier releases, Echtzeit has the feel of a compendium of sketches playing upon inherent strengths within Roedelius's considerable back catalogue. However, what it lacks in experiential probing is made up for by the simple fact of Echtzeit being a nice place to dwell and linger.

Japanese Breakfast is turning into an artist with much to adore, unabashedly authentic but creating music that we can still all see a little bit of ourselves in.

It really does speak volumes about the groundswell of depth in his writing that a record with stakes this high don't feel like a step out of character, but rather a continuing stride through a storm.