Every track demonstrates a beauty in the everyday; in the mundane; in our reality. And combining such observations with the sweeping sounds of orchestral talent and acoustic guitar, the end result, of the combination of these juxtaposing complex and simple elements, is one that feels familiar.

Cheeky, subversive ‘I Saw The Truth Undressing’ seems to sum up this wonderful, enlightening record.

Whilst there are some bright gems for Jacklin fans interested in her ability to be vulnerable and confessional, there seems to be a whole lot of build-up – and not a lot of climax.

An album that is often slight, and occasionally cartoonish. There’s a lingering feeling that not only can UK rap do a lot better, but so can Aitch.

While it does knock out some definite singalongs, sprinkling in some fun hooks and catchy structures, there is something missing beneath the veneer of theatricality. This is an album that hints at complexity, but it is inevitably overshadowed by Urie’s one-man-show.

HOLY FVCK serves as brilliant proof of Lovato’s hard rock capabilities. Lovato suits hard rock, those vocals absolutely gorgeous when paired with a sturdy burst of heavy soundscapes. While Lovato can knock out a summer-ready banger, it’s equally as thrilling to see them lurking in the shadows.

A bold, contained statement nonetheless, doubling down on her niche style with a few twists and turns brings us some truly great moments to cherish.

Phoebe Green explores and elevates her creative visions with ‘Lucky Me’, with helping hands by some of pop’s most innovative producers; Kaines and Tom A.D as well as lead producer for the album, Dave McCracken.

Alexis Taylor’s vocals are always worth experiencing, blessed as he is with one of his generation’s most striking pop instruments, yet ‘Freakout / Release’ doesn’t tug at the heartstrings in the same fashion as ‘Flutes’, say.

Brighter and airier than a lot of corona art, it might also be also more enduring. It’s a collaboration that invites listeners along for a ride between a now- distant musical past and the present.

‘Cry Sugar’ may take the cake for dance record of the year; that lighting-in-a-bottle moment we’ve all been waiting for.

The record is funky, it might sound good near some waves (the title is also a play on the .wav format for digital music files, which Harris is constantly sending to studios across the world), and the beats generally bounce happily along. It does what it says on the tin.

Unapologetically angsty and beautifully chaotic, Pale Waves have created a safe space for fans with ‘Unwanted’. A place of pride.

‘The Alchemist’s Euphoria’ is arguably one of the most daring, cohesive bodies of work that Kasabian have rendered to date; it demonstrates that when it comes to evolving, all it takes is courage, innovation and a dose of pure alchemy.

An album that never fails to take you off guard with each new song. The end result of that frenetic time in California shows how a change of pace can create magic; this is Sylvan Esso’s best album yet.

‘Cheat Codes’ is Black Thought’s most complete project to date.

By the time the record comes to a close, one thing is clear: ‘Traumazine’ is a deeper excavation of who Megan Jovon Ruth Pete is. While the glossy persona of “That Bitch” Megan Thee Stallion is able to roam free, introspective uncertainties linger beneath the surface. ‘Traumazine’ abounds in empowering affirmations but, beneath it all, this is a release that starts to unpack Megan the human.

At times frustrating, ‘The Last Slimeto’ is never less than entertaining. A bracing, defiant gesture, it finds NBA YoungBoy embracing freedom with both hands.

Lyrically the album does what pop music does and creates a vibe but doesn’t necessarily encite any thought or, challenge the listener and the rest of the album from this point feels quite disconnected as we navigate out of the Afro-R&B with a feature from Rema on ‘Compromise’ to Nigerian highlife with lead single ‘Afro Highlife’ and reggae rhythms on ‘Having Fun’.

The interplay between Young and Promise of the Real is great and dare I say, they somehow manage to out ‘Crazy Horse’ the actual Crazy Horse. This is a greatest hits selection worthy of Elliot Roberts’ 50-year friendship with Neil Young.

There are a few points in the album where Lauv begins to take an interesting turn, only to retreat to familiarity.

While ‘PANORAMA’ at times feels repetitive, there’s certainly moments that smoulder with passion, sparkling with Kiyoko’s signature charm.

A final project that is both delicate and explosive. Whether curating the voices of those around him, serving as the production-backbone of a track, or cultivating and polishing his own voice, Lil Silva delivers.

If ‘RENAISSANCE’ doesn’t convince you that a star with nothing to prove continues to produce sprawling bodies of work that are editorially precise, prismatic and rhythmically audacious, nothing will.

Patina is a solid sophomore effort, and perhaps hints at the promise of a greater sonic exploration to come with their future releases.

Packed with personality and innovative sounds, this is an incredibly strong release.

It’s just unfortunate that ‘ISTHISFORREAL?’ is less of a philosophical treatise and more a frustrated misrepresentation of Purdy’s abilities.

This is a cinematic body of work that triumphs in its ability to meld a plethora of electronic styles together with the glue-like emotional intent of sentimental reminiscence, and poignantly reminds the listener to hold dear their loved ones.