As a diary entry, defined by dark nights of the soul and cast in the same bluish-purple hues, ‘Midnights’ offers little of revelatory purpose to those who have yet to succumb to Swift’s charms. For those already swayed by her craft, however, it may reasonably go on to be recognised as her best album to date.

As much as this collection of instruments can so often deliver the hair-raising tricks we expect, these pieces feel more resonant, more entrenched. The surface level thrills are there, but the impact lingers.

It’s an exercise in catharsis, providing an accurate snapshot into the minds and mentality of the band certainly, but also the general public of the last year and a half.

This album as a whole is without doubt greater than the sum of its parts, but it just so happens that those parts comprise one of the most intriguing production collectives in the industry, and arguably the most unique MC that this country has to offer.

Every single song boasts a glittering chorus and light yet effective production; this is a record built on simple pop tracks that are a pleasure to dig deeper on. 'Girl' is the iceberg of 2019 pop albums; dip under the surface, and you’re awestruck by the depth of it.

Overall, the album is a tour-de-force bound to leave the listener nostalgic for warm, sunny times with an inherently groove-focused, genre-bending sound.

Though they might be mellowing in their age, that doesn’t mean to say they’ve compromised an inch, and 'Beneath The Eyrie' proves just that.

In short, though this is a completely new face to Goat, a deeper, richer exploration of their abilities, it’s not a complete departure.

The London quintet have raised their game, with something a whole lot more classy, salvaging them from the landfill indie chute.

Meek Mill has definitely earned his place as the people’s champion, and in turn has provided his best album to date.

If... is dominated by widescreen cinematic soundscapes and fabulously evocative arrangements.

It may be a tried and tested formula but inspiration as beautifully realised as this is hard to ignore.

Perhaps his strongest solo collection in some time, ‘I Love The New Sky’ holds true to an innate but rarely explicit sense of optimism. Softly uplifting in a very English way, it feels like a slow exhalation, a record that gently tugs at your sleeve. A low-key marvel.

Overall this is an album to be enjoyed in its entirety and proves a much more rewarding when doing so. Grab a comfy chair, wait for dusk and lose yourself. You won't regret it.

A luscious record bursting with ideas, technical flourishes and unexpected turns - ‘Fun House’ is Duffy’s greatest achievement yet.

Rebirth is completely captivating.

Tiny Ruins’ effortlessly stunning lyricism and creative cohesiveness mean that ‘Ceremony’ does in fact hit the mark from start to finish.

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.

Hard to ignore, her voice is glorious and rich, and her music intoxicating. ‘I Was Born Swimming’ is an intense journey to take with its creator, but it envelops entirely. You are where she is, you feel as she does.

The beautiful blends of genres and crisp production make ‘As Above, So Below’ an enthralling listen, and has Sampa raising the bar for herself once again.

With powerful juxtapositions of connection and disconnection, hope and despair, life and death, possession and loss throughout, Life After Defo is an absolute thesis on pop experimentalism.

Trend and time can’t touch them, and with ‘Senjutsu’ they’ve produced one of their best albums of the past 20 years.

‘This Is What I Mean’ is a low-key affair, downbeat and introspective. The tracks are intimate in theme as well as production, and it might just be Stormzy’s cohesive and coherent project to date.

While the pop-facing moments may not appeal to all, Tommy shows her dexterous talent and the extent of her creativity on ‘goldilocks x’.

It is the blistering irresistibility of what is achieved at that point, which makes this record striking and inescapable.

A Better Life is an entirely different beast, expanding on their debut’s vigorous garage-pop sound to create something darker, meatier and much heavier on all fronts.

Album thirteen not only acts as the best thing The Pumpkins has released in over a decade but also an exciting indicator of things hopefully to come – a welcome surprise from one of rocks most unpredictable acts.

A Seat At The Table is an expertly-curated, a near-perfect record that serves as a timely, musical manifesto on how to be black and proud.