Overall, this is peak John Carroll Kirby and, dare I say, his strongest album to date. It hits all the points you want, and then some.

M.I.A.’s most consistent work since her debut. ... Yes, her myriad ideas are still tumultuous, but there’s precious few other musicians out there attempting such an ambitious and impassioned collage of words, rhythms and concepts.

One of the best things about ‘Time Bend And Break The Bower’ is how every song feels new.

Fade finds YLT at their most wistfully contemplative; a thought only softened by the paradox that this might just be one of their best yet.

The songwriting and hyper-futurism made easy are a case of Smart by name.

It completes Amaarae’s transition from a fringe Alté artist to a future-pop icon in the making.

He has vision and ambition beyond the scope of most of us and he is able to bring it to fruition. Long may he find new fans for his challenging but deeply satisfying work.

‘Possession Island’ aside, this is an energetic, upbeat, genre-expansive collection that ranks alongside Gorillaz’ best work.

His strongest album to date, and one of grime’s true classics – even if there is a not-very-good Ed Sheeran feature slapped in the middle of it.

The Neon Skyline is one of those albums that will probably never achieve the popularity with the influencers and loud crowds that one sometimes lazily associates with a “successful” artist. Instead, it’s more likely to be enjoyed by hardcore fans in a small venue eschewing the limelight for a communal lament of the lives of the narrator, Charlie, Rose and Claire.

A celebration of what makes Teenage Fanclub great, it’s a finely balanced LP of under-stated charms. ‘Nothing Lasts Forever’ they say – except, perhaps, for Teenage Fanclub.

On ‘Sorry I’m Late’, Mae Muller shows that it takes time to perfect and craft a great pop album and that’s what she has done here. Every track could be, and probably should be, a single.

‘Before Love Came To Kill Us’ has a number of strong tracks and is an excellent debut. Jessie Reyez appears to be in total control of this record and shows off her versatility, as well as her rage.

A singular, precise, and continually inviting experience, Clean finds Soccer Mommy reaching a new level of artistry, using her earlier releases as a bedrock to support her ambitions. A marvellous debut, it’s truly something to savour.

There is so much to unpack in one listen with some many beautiful intricacies to get lost in. With each part of the album bringing something unique.

FLOHIO’s debut shows a willingness to step out the boundaries like few other rappers, and she’s got the power to prove it. Out of Heart plants well-intentioned seeds; with some refinement, FLOHIO has a real shot of some bangers to sow.

The accompanying DVD features an early performance by this line-up, which is a mildly diverting if sonically unspectacular curio alongside a still largely splendid record.

‘WeirdOs’ is one of the finest debut albums I’ve heard in a LONG time. It delivers more than the promise of their debut 7” ‘OGO’ and the ‘Slice’ EP suggested. The songs are absolute chonks.

Much like Villagers’ previous releases, the overriding feeling is of well-crafted, thoughtfully structured songs. The intimacy created by O’Brien’s delicate voice is as ever enhanced by beautifully chosen tonal colours.

It’s an album in tune with sometimes grim social realities but one which doesn’t get wrapped up in them, privileging lovely tunes and a broad appeal. European Heartbreak is a triumphant wodge of sparkling pop.

It’s as though these songs have that uncanny ability to shut out the outside world and speak to no one but the listener. When you achieve that, you’re usually onto something special.

Whilst her talent has been evident in previous releases, there’s something in ‘My Method Actor’ that sees her stand taller, more certain. Yanya’s movements feel deliberate, smooth. An effortless transition from one song to the next, as if telling a story passed on to her, that she now gifts to you.

Blake’s lyrics often circle ideas rather than landing on them, leaving some songs feeling like emotional sketches. But that ambiguity is part of the album’s appeal. These songs feel lived-in and unresolved, the way real relationships often are.

Olivia Rodrigo has created another fun, varied and mature studio album, which perfectly contributes to her wider attempt to preserve her experiences as a teenager within her music.

2012 - 2017 is one hour and seven minutes of sample-heavy dance tracks--eleven in total. Those who are deeply inquisitive about music will have a field day on WhoSampled finding vocal stems from David Axelrod, The Delfonics and Kanye West. Those who aren’t interested in that will still find an album which has an instant impact as Jaar substitutes avant-garde dystopian techno with the most off kilter time signatures for something much more predictable.

Overall, the album does a fantastic job of showing us where Lou Reed was in 1965.

‘Bike Lane’ doesn’t quite strike the balance, and as such isn’t a highlight, nor is ‘Shiggy’. But they’re done so wryly, so knowingly, that it’s not a big deal and they don’t detract much from what is an assuredly sparkly album.

This is the Bollywood-tinged, swinging disco album you deserve.