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

Views packs much less of a political punch than Bey’s must-hear epic, and at 20 tracks, Aubrey for the most part provides a rather overweight and lethargic waltz through his musical comfort zone.

Things are a little different now but like many of their contemporaries, Cut Copy have had to adapt to the landscape and Zonoscope is a considered attempt at a more kaleidoscopic approach.

The upped slickness does mean the album offers little in the way of the provocative, though, so you may be disappointed by Breakage's leniency, and a wrath that's merely implied.

It hardly moves mountains as a standalone effort, but is moderately impactful and somewhat befitting of its lofty pandemic-era presentation.

At its best, The Saga Continues captures some of the old Wu magic but unfortunately these moments are few and far between.

‘Small And Silver’ is a welcome break around the halfway mark, when their stock in trade is replaced with unsettling bass and an off-beat production. However, it’s only a hint of a promise to explore new territories and doesn’t go far enough to vary the album.

While a fun and energetic record, much of the songwriting falls into the somewhat forgettable. Everyone is bringing their A-game, and they're having a blast while doing so, but nothing entirely sticks to the ribs.

Though the record as a whole is weaker than its predecessor, there’s enough flashes of career-high brilliance to keep The Wharves on the right path of progression.

The band’s approach to music-making has always been as eclectic as their references, but generally they’ve stuck to one approach per album. Unfortunately this is where Home Counties comes a bit unstuck. There’s quite a lot going on.

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.

[Wonky has] not improved on any of their previous work. They are merely chasing the shadows cast from their own trademarked head torches.

Whilst adhering to a pretty well-worn formula with the usual rousing emotion ebbs and flows, Gibbard’s ability to paint such vivid imagery with his carefully considered approach to lyricism does warrant revisiting, despite some moments proving patchy than others.

Remaining steadfast in their signature sound, Circa Waves released another nine songs which combines with ‘Death & Love pt.1’ to make an 18 track album. Part two’s first single, ‘CherryBomb’ immediately places you into Circa Wave’s soundscape with its relaxed instrumentation, vibrant riffs and catchy choruses.

There’s enough here to make even the most discerning New Rap playlist – but as a body of work it doesn’t land in the effortless fashion that made EARTHGANG such a pivotal pairing.

Hold/Still conjures up the existential mood of floating in deep space. Lonely--but also out of this world.

While ‘PANORAMA’ at times feels repetitive, there’s certainly moments that smoulder with passion, sparkling with Kiyoko’s signature charm.

The results here feel somewhat less spirited.

Pure pop is an unforgiving master and a slight dip in quality results in the flaccid 'Patient' sounding like a blighted Go West off-cut. Fitfully good.

This won’t run as smoothly as her DJ-Kicks bow of 2015, and it’s not a mix you’re allowed to get comfortable with, the Siberian’s non-conformist stance playing fast and loose with the ideals of cohesion, and letting the faders lead punters astray.

Ultimately, Graveyard Of Good Times is too much of a mixed bag to be considered a great record.

With such weighty subject matter, and with some own personal trauma influencing the record, it’s sadly lacking in bite or overall attack.

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.

At times frustrating, ‘The Last Slimeto’ is never less than entertaining. A bracing, defiant gesture, it finds NBA YoungBoy embracing freedom with both hands.

Impressive, but there are misses as well as hits here. Sometimes Cuco’s vocals and lyrics don’t match up to his sonic atmospheres.

Studio gloss and sanitised drums too often leave things sounding a little safe.

In ‘Love Goes’ Sam Smith has produced a flawed but decent return that mirrors the introspection of this strange, difficult year.

It ultimately falls between two stools - not giving a true portrayal of a Villagers live show, and failing to mix-up tracks enough to justify this ‘re-imagining’ of older material.