This is a punchy record sure to spark some vital debates, as well as having a solid slew of crowd-pleasers.

‘The Loneliest Time’ feels a far cry from the saccharine star that launched Jepsen’s career but proves her musical pliability.

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.

‘Apocalypse Love’ is a primal cry, a maniacal love letter to their sonic anarchy and the unpredictability of the world we live in. It’s a discordant record, swerving through genres and emotions at breakneck speed, but that’s what the Black Lips are all about.

It captures the trials of his journey so far whilst celebrating his current success and the gross potential to do even more. The collaborations are authentic and humble, apt for the LP’s subtly intimate nature. Lil Baby has set the tone for his next phase.

At times, ‘Only Built For Infinity Links’ leans too heavily on the past, and comes close to being simply Migos without Offset – as opposed to a project with its own taste and flavours. At its best, though, the record more than justifies the excitement – the post-Migos landscape is looking very inviting indeed.

‘Stay Close To Music’ is, in all sincerity, a masterpiece that seeks to amplify the voices that have been pushed aside for far too long.

This album is, to be clear, an ambitious, stylish, coherent work of fine art. ‘Tranquility Base…’ grew on me, this may too. But I can’t help but feel that with ‘The Car’, Arctic Monkeys have taken a wrong turn.

Element, and devoutly ambitious, it’s a record to be absorbed at its own pace.

The band promised that they weren’t going to play it safe with this record, and it seems to have paid off.

A revealing, continually powerful set of songs, ‘Here Is Everything’ is a fantastically engaging experience, arguably the strongest set The Big Moon have placed their name against.

‘FOREVERANDEVERNOMORE’ is nostalgic, melancholic, hopeful and hopeless, existentialist and nihilist. Brian Eno is one of the few artists who is able to convey the things he does by using so little, and ‘FOREVER’ is a prime example of his mastery.

Malleable, accessible but equally polished and bold, ‘Capricorn Sun’ will no doubt propel TSHA into new environments and challenges.

Never once is Jean Dawson restricted by any instruments or styles. Instead he crafts a nostalgic, and sometimes aggressive, world, matched beautifully by the well-thought-out visuals. It took everything that made ‘Pixel Bath’ so incredible and just elevates it. 8/10

‘Tableau’ sees the The Orielles venture into the unknown, with the sole ambition of testing their limits (or lack thereof). They succeed, resurfacing with new vision, and setting an example of what can occur when artists have the opportunity to revel in full, untethered, boundless creativity.

‘Being Funny In A Foreign Language’, like most of their projects, has something for everyone, but this time does stay in one lane – and that’s for the better.

Out of devastation, Loraine has pieced together an album to cherish.

A challenging yet continually beautiful project, ‘In These Times’ contains a terrific sense of unity, one that belies the lengthy manner of its gestation. An ode to community, it’s a record that carries a very special charm.

‘SUCKERPUNCH’ sees Chloe Moriondo at their most daring and most confident on what is by far their most creatively impressive album to date.

The album shows The Cult taking their musicality, sonic tricks and experience to a new place, still retaining their identity, and this can only be a good thing.

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.

In spite of much of ‘CHARLIE’ missing complexity or a distinctive flair, the album remains punchy and bright and what Puth lacks in poetry, he makes up for with glimpses of pure pop excellence.

‘Blue Rev’ is a magical, twisty excursion to a crossroads where the band simultaneously reflects on yesteryear and explores the turbulence of divergent realities.

Fuelled by rapturous and disjointed guitar work and bittersweet lyricism, this record will easily be in the running for one of the best records out of the UK this year.

‘Cool It Down’ feels defined, succinct in a way that suggests complete confidence – it’s also a weakness. A smidge over 30 minutes, and with only eight songs, it already has you yearning for what might come next.

Peppering the underground with some of its most influential cuts, each new project has taken him closer to his goals – hell, he’s even nailed a Grammy nomination. ‘$oul $old $eperately’ works emphatically to bring these elements together and push them to a new level.

Overall, ‘The End, So Far’ is a remarkable punch of sharp, sobering heavy metal. Slipknot yet again thrive in their signature darkness – however, there it no doubt that this album would be elevated by more cohesion.

‘Doggerel’ isn’t a bad record, it’s just missing the audacious grit that is so entwined with the bizarre charm that makes the PIXIES so remarkable.