If you’re in the right mood, it’s a fun slice of cosmic silliness that absolutely deserves to be packed away in your coolbox and brought out, nicely chilled, in approximately five months’ time. However, if your vibe is even slightly off then it can quickly become annoying in that subtle way that’s hard to register at first, but soon makes itself felt.

Dreamy but real, hazy but pure and insightful, this project facilitates fresh ambition and explores new ground for Real Estate. And maybe, this record will take them even closer to that elusive ‘main thing’.

Forged at the intersection between positive and negative, romances and crumbling relationships, ‘Vices’ is a celebratory collection of a real-life instances represented in song - and it is as perfectly imperfect as real life itself.

'Ordinary Man' is far from perfect, but all Ozzy Osbourne's solo releases tend to reflect their creator's flaws to one degree or another. It does, however, absolutely succeed on its own terms, serving its purpose by reminding the world just what we'll miss when this titan among titans finally departs us for good.

Although the sound of the album is wide-ranging, it holds continuity through its lyrics and general sentiment. K-Pop after all is an inherently genre-blending style of music, so it’s no surprise.

‘Companion Rises’ is an easy listen and utterly gorgeous with it.

The record feels slick and polished, yet natural and unnatural. Like Grimes’ previous music, it’s a scary, ambient, and muddlingly beautiful mess.

‘Man Alive!’ is an absorbing consolidation of Marshall’s inimitable sound.

The resulting album, on which she’s joined (as ever) by the brilliant Bobb Bruno, is an irresistibly upbeat tribute to self-care, reflection, and the joy of the everyday.

This is a playful project, not afraid to dabble with creativity but also showcasing both Denzel’s lyrical ability and Kenny’s creative dexterity, both artists’ visions. It’s as if they created a glitch in the hip-hop matrix, and one that would be welcome again soon.

The main problem with ‘Changes’ is that it isn’t exciting or dynamic and suffers from dragging in places. Part of this is down to the lack of variation on the album.

Engrossing, dark and irresistible, ‘Stray’ is a grandiose effort from an adventurous group, who just keep getting better all the time. Bambara remain a genuine force.

More than two decades on, the group’s era-defining work projects the same spellbinding urgency, continually taking guitar music to new places with imagination, force and creativity.

At just under and hour the album isn’t notably long nor short, but there are no parts that drag or feel out of place. This isn’t a hip-hop album, a jazz album, an electronica album...but something that will speak to fans of those genres who’ll take this as their album.

Dan Deacon’s return into the solo world has resulted in an exuberant fifth album that leaves us craving for more of his newly honed skills. The fascinating contrast between his acoustic and electronic backdrop leads us towards an elusive higher power, while some of his lyrics bring us back down to earth.

Jaar shows signs of evolving here, and it’s more than welcome. For a record that feels chaotic at times, everything falls into place.

A solar system held in place by its own revolutions, ‘The Slow Rush’ is testament to the patient productivity and unrelenting creativity of Kevin Parker.

The closest ‘Quadra’ comes to breaking new ground and entering unclaimed territory is the dramatic metamorphosis of Green’s voice during the nostalgic nu-metal hymn ‘Agony of Defeat’, not to mention the superb acoustic intro and the profane chorus of ‘Guardians of Earth’. More crucially, the samba drum-kit of ‘Capital Enslavement’ and the syncopated beat on ‘Raging Void’ shows that the idea of exploring percussive possibilities is slowly growing on them.

This is an album that shows a progression, but instead of delving deeper into harsh sounds, they have gone the other way, delivering something that feels light and fluffy but has the same lyrical hit as their debut.

Makaya McCraven breathes new life into not only the album but Scott-Heron’s legacy.

As an exercise in reclaiming control, in setting out her stall, it is a definite success, a hand-made pop exercise in an era dominated by algorithmic marketing plans. As a listening experience, though, it’s somewhat limited and frustratingly repetitive, ultimately paling next to La Roux’s previous heights.

It’s testament to JME’s influence that he’s able to pull in such heavy hitters, but also to his talents on the mic that he’s never overshadowed.

Green Day have delivered possibly their most immediate album this century and an album that, despite its short length, grows more rewarding with repeat listens.

The Neon Skyline is one of those albums that will probably never achieve the popularity with the influencers and loud crowds that one sometimes lazily associates with a “successful” artist. Instead, it’s more likely to be enjoyed by hardcore fans in a small venue eschewing the limelight for a communal lament of the lives of the narrator, Charlie, Rose and Claire.

‘Funeral’ is a mixed bag, and feels more like 24 tracks Lil Wayne had lying around than a coherent project. It’s a shame, because there’s a very good album somewhere in the 24 tracks on offer, but it’s weighed down by a lot of filler.

Despite the sadness that clearly surrounds this project there is plenty of positivity: the production of the album is impeccable, and the overwhelming message that shines through is of hope for the future.

Hard to ignore, her voice is glorious and rich, and her music intoxicating. ‘I Was Born Swimming’ is an intense journey to take with its creator, but it envelops entirely. You are where she is, you feel as she does.

By tweaking the American seasoning in their long-simmering stew of English folk, Smoke Fairies have finally delivered on their early promise to create an album you can truly get lost in.