On ‘Transparent Things’, she finds the balance between spectacle and subtlety.

‘The Weightless Hour’ is a mature record that sounds completely at peace with its place in life.

A textured tapestry of overwhelm that’s as desperate as it is defiant. She employs a string section across much of the record (a return to the expansiveness of 2018’s ‘Transangelic Exodus’), and yet also dabbles in sampling for the first time; with its skittish drums, eulogic cello, and haunting vocals, ‘You Mustn’t Show Weakness’ is the potent pinnacle of this new frontier. Lyrically, too, ‘Goodbye Small Head’ is some of her finest work.

Clashing, cluttered, chaotic, challenging, ‘McCartney, It’ll Be OK’ is a venture beyond the conventional consideration of ‘progressive’, one to simultaneously blow eardrums and provoke minds.

‘Who Wants To Talk About Love?’ arrives as a collective and deeply-charged record of human experience.

The record - which benefits from an open-minded choice of producer in Chairlift’s Patrick Wimberly - concludes with the soaring ‘Brothers Won’t Break’, a heart-warming reaffirmation of the Jarman union - and a roar of assurance to the Cribs faithful that they remain one of the most irrepressibly vital bands in Britain.

If You’re Reading This It’s Too Late is by far Drake’s most dense and complex album.

There’s little in the way of new ground broken here, but it's consistent nonetheless.

The only thing holding the album, and the band, back from being outstanding is the lack of obtuse moments; as at points the piano/electronic drums/synth combo can wear a little thin.

Distinctly shying away from the commercial, Chad VanGaalen is an explorative soul and although his frightening world is separate from ours, he makes a peaceful journey of it.

M.I.A is a maverick writing this album only for herself and her cause, but still, Matangi is a welcome return to form.

Whether down to Erika’s understated vocal, or the shallow pool from which many of the musical textures come, things do elsewhere get a little samey. A shame, as ‘Sensational’ starts so bright.

For all the immediacy of these tracks, the core of others can get lost: on ‘Pass’, she perseveres through changing seasons and a tornado, yet ultimately a high-pitched, burbling synthesiser is the obstacle that proves too much, distracting from the atmosphere that’s been so carefully cultivated.

While ‘Harlecore’ may be primed to bring the party, it’s just not quite the mad one we were hoping for.

There’s still a little greenness here and there – the Royal Blood-esque ‘Summer Of The Shark’ lacks a little individuality, for example – but in the position that DITZ have put themselves in, there are a lot of places for them to push the boat.

While ’40 oz. to Fresno’ is certainly a little less orthodox than we’ve come to expect, it doesn’t matter all that much: their rough-around-the-edges punk still strikes the right chords.

The record makes no attempt to shroud emotional reactions to the modern world, and it results in a thematically poignant, lyrically sharp and sonically surprising statement piece that redeems what was once used as a dismissive label.

Lizzo has created something often softer and more intimate than anyone might have expected. Of course, as the disco strut of lead single ‘About Damn Time’ will attest, there are still cheeky bangers contained within.

With seemingly none of that badass-ery from their classic late-’90s output diluted by the passage of time, ‘Little Rope’ sloshes up nothing less than a condensed, rocket-punch collection of ten three-minute bangers.

‘Perfect Picture’ is the pinnacle of today’s hyperpop yet steers away from its once abrasive nature towards a well-rounded, rebooted version: one where all that Hannah is and can be is indeed made picture perfect.

Throughout, the record oozes an elegant stream of sophistication and songwriting nous, backed up by a rich, clearly well-thought out and measured Tucker Martine production.

Mew have always been unpredictable, and with +- they prove, once again, that it’s all for the best.

With its clean, bright production, Frankie Cosmos have found a fitting sound on ‘Different Talking’, via their new era of lush, happier pop-rock.

Ultimately, ‘Ripped And Torn’ is a little disappointing - its sounds are solid, refined and rehearsed, but feel relatively misguided, with the band seemingly unable to determine exactly where they’re going.

Musically tying everything that’s come before together in a comprehensive showcase of the band’s continued prowess, and lyrically providing an ominous but defiant voice for 2019, Everything Not Saved Will Be Lost is Foals’ definitive statement. And that’s only part one!

This is not quite Modest Mouse at their best, but they’re not a million miles away from it, either.

In typical Soccer Mommy fashion, there’s little flashy footwork to be found here; only expertly-shaped understated songs that give more with every listen. Stepping beyond the groundwork of her debut collection, and sounding all the more confident for it, Sophie Allison shoots, and she scores.

James’ voice remains the deserving centrepiece. Still fragile, but now sounding more confident than ever, those pipes sound warmer and thicker than ever before.