The result of her personal awakening is an album that is cathartic, tender and heartbreaking in equal measure.

Balance aside, ‘Get Up Sequences Part One’ sees the band doing what they do best, wading into an often cynical world filled with apathy and melodrama and detonating a glitter bomb - and you’ve always gotta love them for that.

‘Pink Noise’ is a triumph for both the label and for the super-talented Laura Mvula.

Masterful in its softness of touch, Sault know when to apply and relieve pressure; at moments it can be intense, yet others are bathed in a beatific R&B halo.

Instead of throwing perspective on her fears, anxieties and problems and helping to alleviate them, that context and duality only amplifies them. They become her, and she becomes them. ... ‘Hurt A Fly’ is one of the more optimistic-sounding songs on the album, but even its hopeful tone is laden with the threat and/or promise of everything crashing down. The tender strains of ‘Pass’ also offer a glimmer of hope, but one that, inevitably, eventually burns out and turns to dust.

Pom Pom Squad seize these influences and DIY them to fit their own Gen-Z aesthetic. In other words, ‘Death Of A Cheerleader’ is a tour-de-force that toasts to all of our own Dumb Bitch Selves.

While the synth and electro are certainly there, it lacks a little punch.

'Escapades' is an audible hallucinogen, and it’s a trip you’re gonna want to take.

Altogether, 'Mood Valiant' is a joyous, frolicking ode to renewed life. It signals a strong return for Hiatus Kaiyote.

This is a record that showcases Tyler, the Creator’s continued refusal to be caged in by any set sound or genre, with references to his earlier style alongside tracks that sound completely new. Defying expectations, Tyler, the Creator continues to rise.

For 'Planet Her', there is a sense of predictability in that; if nothing else, you can expect a versatile project. Multiple layers mold the artist that is Doja, and as she is carving out a lane that is entirely her own, she is not afraid to be herself no matter how chaotic it may be at times.

A powerful album, confirming Home Video as another exquisite offering from Lucy Dacus.

What’s remarkable about this seven track mixtape is the sheer consistency of pop ideas on offer.

In its length and scope, there’s a feeling here of witnessing H.E.R. in 360 – panoramic R&B that more than justifies the wait, a sumptuous, multi-faceted jewel that seems to reveal fresh colour with each play.

‘Miracle’ delves the depths of human introspection with a tangibly cathartic gleam, imbued with an essence of that wondrous beauty that only miracles can possess.

Strong and raw instrumentation lays a varied and strong foundation for a subdued vocal performance that charms listeners into a relaxed state, in which you can float along to the soaring instrumentals provided throughout.

It’s a huge record, a panoramic thriller that places three incendiary MCs against a digital orchestra – an ambitious, lavish, and extraordinarily successful release.

A bold gesture weighed down with excess, 'The Voice Of The Heroes' is a worthy experiment, one that feels destined to be a cult favourite.

It’s rare that an album is ten years in the making, and honing that much emotion and experience into roughly 41 minutes is a monumental task. Chloe Foy accomplished it.

Continual evolutions has pushed them away from their roots, feeling less like a band and more like a committee, marking out different strategies without truly owning one themselves.

A 10-track wonder that is a more mature and eclectic take on her gloriously femme and thundering electro-pop.

Oddly, ‘Butterfly 3000’ shines brightest not through its movement but its precise arrangements. ... On those occasions where King Gizzard fully embraces the groove, however, ‘Butterfly 3000’ is a real treat.

Though 'Nowhere Generation' isn’t breaking boundaries, it doesn’t need to. Rise Against have carved out a niche that works for them, and if it aint broke, why fix it?

‘BUMMER’ is a record made to be played hard and loud, heard blaring out of car windows and making cavalcades in faceless crowds.

Sleater-Kinney permit themselves a few self-satisfied experimentations – not everything comes off, such as the slightly wayward ‘Method’, for example. At its peak, however, ‘Path Of Wellness’ is a riot, one that underlines Sleater-Kinney’s hallowed status while providing a continual challenge to the idea of them as a ‘legacy’ artist.

Listening to ‘No Gods No Masters’ feels like listening to Garbage again for the very first time, which is a terrifically thrilling prospect.

Carefully structured, ‘MAN MADE’ is able to caress the spartan sonics of ‘Away We Go’, for example, before plunging into the revelatory rock guitar of ‘Sinner’. In bringing such diversity together, the central creator is able to span opposites, and build bridges that perfectly amplify her touching lyricism.

Perhaps too slick for some, the Crowded House catalogue has never been afraid to be open. Maybe that’s a fault, but there’s certainly nothing wrong with a slice of innocence and songwriting purity in a landscape so smothered with irony.