Probably Costello’s most underrated album, Trust is sophisticated and varied, and something of a deep breath following the heedless rush of the records which had preceded it. It’s a remarkable collection of songs which represents yet another high water mark in the early career of a young juggernaut seemingly incapable of anything less than brilliance.

first single “Carry Me” and opener “Overdone” show Bombay Bicycle Club getting newly aggressive, where they just want to express their joy in discovering different forms of sonic expression.

The pummeling drum track of “Overdone” would’ve been ear-turning enough, but the title becomes a wink as the band piles on battling countermelodies, percussive synths, staggered drops and octave-shifted guitars. Meanwhile, “Carry Me” boasts the closest thing to a guitar riff, but it sounds more like a trombone over an impossibly jerky, inhuman rhythm, imagining Hidden-era These New Puritans as flower children rather than warmongers.

A key inspiration was reading Grayson Perry’s assessment of contemporary manhood The Descent Of Man.

The book resonated on a personal level, making him contemplate his conduct as a man in the context of being a partner, a father to two daughters, a son, and a songwriter, but also as a male who feels compelled more generally to be an active participant in deconstructing and rebuilding masculinity in order to create a better, fairer, more equal society.

The Laughing Apple consists of three new songs and eight re-interpretations of forgotten tracks from the Sixties and Seventies. Although the source material comes from various periods, the album's mood is distinctly Tea for the Tillerman-era. Partly, of course, it's Yusuf's iconic voice – the passage of time has simply served to make his vocals more avuncular. But mainly the LP evokes the glory years because of the presence of some top-notch songs.

More so than his alt-country covers of zeitgeisty non-country albums or his arbitrary forays into arena rock and heavy metal wish- fulfilment, what Ryan Adams truly excels at is documenting and dissecting failed relationships.

Lionel Richie was still a Commodore when he released his first, self-titled album on October 6, 1982. But such was its immense success that there was no turning back. Four million sales in the US alone sent a very clear message that his fans wanted Lionel solo.

Beck and Pharrell first discussed the idea of working together in 1999, but it’s taken almost 20 years to finally bring the two together. Beck is the master of unpredictability and has, since his debut, experimented with all manner of styles, including lo-fi, rock, funk, pop and folk. Here, he pushes that unpredictability to its very limit – and sometimes, the songs break.

There’s no gentle easing-in, either. ‘Superman’ is jarring and bilious. An opening line of, “You don’t know what it’s been like/Meeting someone like you” signposts from the off that cuddly Rod Stewart covers will not be with us this evening. Ugly guitar slashes and agonised falsetto take their place, and they sound fantastic.

‘Language…’ finds the Stereophonics sexy, angry, hungry, focused and (generally) intelligent. And, wonder of all wonders, it finds them seriously good.