This is a thoughtful and sensitively crafted project showcasing an awe-inspiring collection of carefully-crafted tracks. It is a touching tribute to this special musical partnership and demonstrates their musicality, artistry, and emotive storytelling.

On ‘Ignore Grief’ they’ve done it again as the album is the most powerful and uncompromising album they’ve ever released. It’s also one of their most playable. This is down to the dense music. Every time you listen you hear something new that gives the song a different context. This is the mark of a, and I use this word properly, class.

‘Red Moon In Venus’ solidifies Kali Uchis’ appeal as both a fringe artist leaning fully into her idiosyncrasies, and a crossover one executing universal easy-listening with élan.

A bold attempt to embrace his contradictions, this is a project held together by the brutal strength of slowthai’s performances.

On ‘Brothers And Sisters’ he sounds like he feels comfortable being in his skin and writing uplifting music that doesn’t have a massive political message, though one is there. It doesn’t have a massively personal message, though it is there. Instead, he’s written an album for everyone.

A powerfully affecting song cycle, ‘On Grace & Dignity’ peels back preconceptions, stabbing straight for the raw nerve.

At once a joyous, celebratory ode to motherhood, elsewhere finding quiet liberation and acceptance during life’s darkest moments, it’s clear, Meg Remy has delivered her most hopeful album yet.

Adam Lambert doesn’t do subtle, he is theatrical through and through – and we are here for it. The gravitas towards all things dramatic is ever present throughout his latest offering ‘High Drama’ – an album of bold reimagined tracks personally curated by the singer himself.

Across its 12 tracks, ‘Good Riddance’, is a deeply confessional offering, with decadent melodies and production that platform her distinctive vocal.

The songwriting is strong, representing Selway’s best – and must sustained – burst of solo work yet. His innate musicality shines through, and there’s an endearing honesty to the lyrics that filters across the music itself.

‘How To Replace It’ finds dEUS facing up to their past and refusing to be hemmed in by it. At times daring, at others direct, this feels like the work of a band with nothing to prove.

Individually the songs are great, vibrant and bouncy. However, together it can get a bit too draining. Now, I’m not saying that this much pop is a bad thing – the album is a delight to listen to, but there is a lack of variation in both sound and texture as it’s all so IN-YR-FACE.

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

The result is an album soaked in nostalgia and melancholy but retains the razor-sharp edge that make shame so brilliant.

‘The Land, The Water, The Sky’ is an album to savour, to go back to again and again to either get a greater understanding of what she is imparting and to find a new melody you missed the last time.

A helter skelter 11 track run-through, ‘Cuts & Bruises’ retains everything that made INHALER’s debt so effective while adding some excellent new elements.

The album seamlessly transitions through genres of music that will be influencing the next decade of sound. To achieve such fluidity is unbelievable, and Skrillex continues to be the Godfather of EDM.

Avey Tare’s new album ‘7s’ sits in the shadow of ‘Time Skiffs’, but it contains a curious character of its own. Featuring – naturally enough – seven tracks, it both nods to some of the conduits of Animal Collective’s work, while also injecting something different.

With ‘Land of Sleeper’ Pigx7 have managed to sharpen their uncompromising combo of Sabbath-esque riffs and experimental leanings into their most easily digestible – and perhaps best – album yet.

Orbital’s revised sound sees them cement themselves at the forefront of electronic music.

Caroline Polachek has set a serious precedent for any pop releases that follow it this year. She is an artist completely in her own lane, refusing to conform, every moment on this record a vicissitude. Her commitment to her craft is undeniable, her talent indisputable.

‘GRRR Live!’ has further cemented The Rolling Stones’ reputation as one of the best live acts of all times as well as being one of the most memorable shows in the band’s history.

‘Truth Decay’ is a mixtape You Me At Six have lovingly burned and placed into our open palms. It’s got tracks you’ll love, some you won’t, but there’s an undeniable charm throughout.

‘This Stupid World’ is another wonderful instalment in their extensive catalogue.

Don’t listen to ‘Raven’ expecting immediacy. Instead see ‘Raven’ as a point of discovery, fostering dialogue on and beyond the dancefloor; an open expanse and a surround sound experience for the marginalised seeking thrills beyond the white gaze.

Something about the songwriting on ‘This Is Why’ are undeniably the most something, Williams both elegant and sandpaper-coarse, depending on what is called for.

An inspired listen, it stands as a wonderful achievement not only in jazz, but in African-American improvisatory arts more generally.

‘Portrait Of A Dog’ offers up a compelling glimpse into Yano’s chimerical interior world, deftly and sincerely, unfurling memory after memory without devolving into, and getting lost in, syrupy sentimentality.