As a whole, this ambitious compendium of some of George Harrison’s finest tracks are ideal for fans discovering the magic of ‘Living In The Material World’ for the first time, or indeed for those wishing to revisit it.

In its pursuit of a more full, cinematic listen, the project is occasionally hindered by its sense of spectacle, struggling to form a genuine, consistent bond with its listener. Even so, 070 Shake illuminates a path that not many can tread with such confidence, an elevating spirit that pushes the parameters of her craft.

The wonderful ‘Isn’t That Enough’ recalls Neil Young’s ‘Harvest’ – it’s followed, aptly, by ‘Heart Of Gold’ – and these songs carry within them a quietly pervasive sense of direction, as though the album itself became a means of continuation. There are moments of real melodic distinction, too.

Whilst still channelling her pop song writing tendencies, there is a distinct sense of emotional depth at the heart of ‘Bouquet’, which feels as though it finds Gwen Stefani at the peak of her songwriting craft.

Never straying too far to their admired soundscape but enough so to still be refreshing. ‘IWH2BMX’, ‘Get It Til I’m Gone’, ‘Nocturnal’ ooze confidence.

Tracks like ‘Overflow’ and ‘Stained’ are the album’s most impressive. They fuse electronica and rock with genuine elegance, in a way that feels contemporary and, to a certain degree, even cutting-edge. .... Few other tracks catch fire in the same manner, however.

‘Every Inch of Earth Pulsates’ is an apt title for an album that doesn’t waste a second in getting your feet moving. By throwing their hat fully in the indie ring and hooking up with Orton, the band has found a clearer identity and produced an all-killer, no-filler statement.

‘The Good Kind’ is full of dynamism and energy with pounding riffs and basslines. The trio are clearly revelling working together again on their sophomore LP, delivering on what fans might expect and showing the role each member plays.

‘Everybody Needs A Hero ’continues Gartland’s signature storytelling style but pushes her artistry in new intriguing directions, one that is sure to leave fans satisfied.

As righteously indignant and vital as ever, ‘Come Ahead’ is another high in a career full of them.

While ‘Eternal Atake 2’ may be content to live in 2020, the rest of the rap world has moved on. Although far from terrible, ‘Eternal Atake 2’ seems to exhibit more signs of the Lil Uzi Vert tail-off – the quality control has dimmed, and the sense of direction exhibited on their early work has waned.

Able to speak her truth, ‘What A Relief’ is a valuable insight into a profound creative talent, and a gorgeous listen.

It’s cinematic and magical and stands as some of Fionn’s most captivating and compelling work to date.

The colour of ‘Chromakopia’ resides in the album’s grooves, layered production and immersive penmanship. While some elements feel a bit safe, the sound design is chiseled and sharper, showcasing Tyler, the Creator’s now-mastered style in HD glory. If ‘Chromakopia’ is anything, it’s profoundly human and revealing.

The balance between a distilled identity and a streaming-era leviathan is difficult to find. ‘LYFESTYLE’ is a huge in scope, but that can mean it becomes repetitive – in particular, the record’s mid-arc falls flat, with songs like ‘ON 1’ feeling as though they’ve been constructed to fulfil aesthetic obligation. That said, Yeat clearly isn’t making music for critics. ‘LYFESTYLE’ is for the fans.

‘The Night the Zombies Came’ isn’t an album for the uninspired or your average Joe – it’s a bible for the daydreaming visionary who finds beauty in the mundane.

This is a record that, fittingly, rewards the repeat listener as its impact evolves.

‘The Great Impersonator’ is both deeply personal and sharply relevant to wider pop culture, quietly contributing to conversations being had by, and about, Chappell Roan, as well as those that have followed the death of Liam Payne.

Longing and levity substantiate the expansive cosmic realms of ‘Pomegranate’, where joy and exuberance draw you deeper into her sonic world with husky vocals and shimmering instrumentals.

With a rich string chorus that runs through the final track and the songs preceding it, Soccer Mommy has created a dream-filled escape that always falls back to the present.

Amyl and Sniffers have released the album of the year. .... The record speaks as a journey of a woman finding her own worth whether that be in life, relationships or career, and it’s here to inspire you to do the same.

‘3AM (LA LA LA)’ is Confidence Man at their raviest, their naughtiest, their most confident.

Much of ‘Dreamstate’ feels shinier than its predecessors, replacing the dingy basement feel with hands-up, festival euphoria.

‘Tension II’ is embedded in Kylie’s more up-front pop tendencies. That’s no bad thing – she’s the best around, after all – but it does make the project feel a little slim in places.

‘Fate & Alcohol’ is also the closest they have ever come to perfecting their own sound.

‘GLORIOUS’ is a trim 15 tracks, offering 42 minutes of music. Chopping away the excess, what’s left is bold, colourful, and attention-seeking – brash, but not subtle.

With ‘Songs Of A Lost World,’ The Cure has not only produced something worth the wait but added another classic to their already sterling catalogue. This is a late-career gem from one of the world’s most idiosyncratic acts.

Greep’s love of music – from Brazilian legends Egberto Gismonti and Naná Vasconcelos to the avant-rock ventures of his former band and Brixton brethren – strikes out of the album with an incredible force.