The Atlanta rapper is just too slick, too fast-moving, and too good to truly bring down. ‘Mixtape Pluto’ offers ample evidence to his continuing singular form of genius.

A succinct declaration of independence, ‘Formula OneDa’ finds the Manchester rapper nailing down her testament – she implores you to listen.

Brimming with sensory overwhelm, ‘GOAT’ re-affirms the mysterious Swedes as being one of the finest vassals for truly forward-thinking psychedelia traversing inner and outer worlds this century.

Some of the punkier elements of old are fighting with the grandeur aims of the future. At a time when a new generation of artists is doing inventive things to revitalise guitar music once more, two minutes of snot-nosed punk riffs don’t hold the same sway they once did.

‘It’s Nothing’ is a good old-fashioned album in the best sense: 10 tracks, each well crafted and strong enough to stand alone, combined into a coherent whole.

This second studio effort from FINNEAS is less experimental than the 2021 debut ‘Optimist’, but has more of a direction, even if said direction becomes a little formulaic toward the latter half of the record.

By getting back to what he does best, this is a sizeable step in the right direction, with ‘A Modern Day Distraction’ easily his most well-rounded project since his beloved debut.

‘Stream of Life’ is a reflective, uplifting and intelligent album that stands out in the Maxïmo Park canon and is full of texture, soaring melodies and sagacious storytelling and lyrics.

With its polished sound and central themes of love, appreciation, and reflection, ‘Leon’ is a must-listen for fans of smooth and sonorous soul music.

Throughout this record, the sense of adventure and excitement is palpable – this is a band at the peak of their powers, having fun creating; it’s hard not to get caught up in such a truly unique and thrilling journey through the cosmos. If death metal hasn’t yet had its breakthrough critical moment, this might well be it.

It’s a compelling work that just takes over, in the best possible way.

With its intricate production, mesmerising melodies, dynamism and scope, ‘Honey’ is no doubt a stellar addition to Caribou’s catalogue.

This band is having a ball, that much is plain. It’s a danceable album, upbeat in tone basically all the way through. On ‘Zero Sum’ especially, it all starts to pop off – savour the evergreen treat that is Thom Yorke being a snarky little so-and-so over a raging fucking bop. You love to see it. The slow number, ‘Tiptoe’, is absolutely gorgeous.

Through Hayden, Ness Speaks – and it’s quite unlike anything else you’ll hear all year.

It reminds us of the power of love, hope and indeed music can overcome those dark days and the importance of trusting in the universe and more importantly yourself.

A quite singular record from a singular voice, ‘Dunya’ is testament to the strength of Mustafa’s ambitions, and his desire to be heard.

‘Below A Massive Dark Land’ reinforces the gravitas of her songwriting. A beautiful record dominated by fading light and ominous shadows, it could well be your perfect Autumn soundtrack.

Fun, and wildly over-the-top, ‘Harlequin’ scratches an itch for both fan and artist.

If there are fans who aren’t into this solo album, that’s OK, you still have his 2006 ‘Solo Guitar’ album to listen to, but for those of us who are into ‘White Roses, My God’ there is plenty to engage with. Grief has never sounded so captivating.

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.

‘Real Deal’ is more mature, both in sound and lyrically, leaving behind the blushing self-consciousness found on their self-titled debut with tracks like ‘Female Lead’ and ‘Creative Jealousy’.

Love, heartbreak, growing up, and self-discovery are the ingredients to this emotional rollercoaster of a cocktail, and it’s simply beautiful.

For the most part, although the record is not without its weaker moments, ‘Flow Critical Lucidity’ is a good reflection of Moore’s rare experience. A deep, if relatively short, listen which will reward repeat plays.

This is an album that if you don’t engage with straight away, give it some time and try again. I’m not sure how often I’ll play ‘Through Other Reflections’ going forward but there is something wonderful going on under the surface that is captivating.

‘Endlessness’ is a remarkable record, a project that borrows from dozens of voices while communicating in only one. Somehow eclipsing the magic inherent in her debut, ‘Endlessness’ finds Nala Sinephro operating in a creative universe of her own.

Closing with the beatific ‘Ablaze’ – with sonic shades of John Martyn’s crepuscular ‘Small Hours’ – ‘Casade’ made lack the breathless ambition of Floating Points’ orchestral manoeuvres, but that’s not its purpose. A resetting of the dials, it transplants the producer from symphony hall to sweaty club, and that alone makes it truly vital.

As Herbie Hancock so rightly put it, “jazz is about being in the moment” and jazz weaves through Nubya Garcia’s ‘Odyssey’. So, press play and sit back – close your eyes and soak it in.

A brash dose of colour for a drab post-Millennial pop scene, she was the bulldozer through the critics doors. On ‘143’ however, there’s a feeling that the world has moved on – with Chappell Roan’s tour sparking Beatlemania-esque scenes of adoration and Sabrina Carpenter maintaining a stranglehold on the charts, you struggle to see where this playful yet unsatisfying record fits into pop’s firmament.