There’s the occasional curveball, such as the Latin shuffle of Olvidado (Otro Momento), but for most part the music hovers on an astral plane between speakeasy jazz and the later nexus of Dylan, Nilsson and Newman. The result is strangely timeless.

The Unfolding is an album with a broader purpose that conveys its egalitarian, inclusive message with discretion, confidence and superb musicianship. It succeeds in balancing the beautiful with the cerebral, simultaneously existing as both head and heart music.

For some the relentless artificiality of this album will make it hard going, and is likely that Walt Disco will make better records, but as a debut this is assured, individual, and liable to incite a thousand arguments about teenage clothing choices. Like all the best pop music.

It might not be exactly how you remember Loop to be, but it’s distinctly Loop nevertheless and is a welcome return for a band that were thought to be done and dusted.

The music of Aldous Harding is beautiful on the surface, but becomes even more wonderful when given a chance, and when it’s as good a first listen as Warm Chris is, finding time to dive back in is a rather simple task. Warm Chris is the first great album of the coming summer.

Filled with the classic Molko goth-nihilism it’s twinged with as much Nirvana as it is Depeche Mode. Familiar yet fresh, a grower indeed, catchier with each listen.

The lovelorn subject matter is at times overbearing, but nevertheless Homesick is a decent listen from start to finish and its consistency is impressive.

Crash, while not a perfect record and not entirely free from external pressures, sees the singer in a completely different space, making joyous music that flits between normativity and hall-of-mirrors-style subversion in a manner reminiscent of The Weeknd’s Dawn FM.

Becoming Undone is a twisted, thrilling ride, at once stylish and unhinged, showing that more sophisticated production techniques haven’t taken away any of ADULT.’s edge over the years.

The full listening experience is perplexing, intriguing, sometimes perhaps infuriating, but rarely less than intoxicating.

Whilst it’s unlikely to have surpassed a compilation that would have boasted the likes of I Wanna Get Lost With You, Indian Summer, Graffiti On The Train and Mr And Mrs Smith to name but a few, Oochya! is undoubtedly one of Stereophonics’ better albums in recent times even if, at 15 tracks, it’s a little too long.

It might have been largely inspired by events that took place in the past but this is a forward-looking album by a band that has rediscovered their place in the world.

Though it’s only a brief listen, Back In Black finds Cypress Hill refreshed and re-energised.

To produce songs that listeners want to stick on over and over again is the holy grail, of course, and although the whole album doesn’t manage to maintain this level, the highlights could stay with you for a considerable time.

Deciding which music you listen to in a world that now benefits from so much of it is another tough choice, but in the case of The Jacket, it comfortably feels like it could be a very good fit for many.

Reeling is undoubtedly a solid step on a road to a successful career, and one that will find this band honing in on both its desired path as well as strengths that will become clearer as time goes by.

It features roughly one good tune to every two mediocre ones.

The music can be deadpan and serious at times, but Magazine 1 gives the running impression that it was a huge amount of fun in the making.

It’s a rare skill to be both silly and devastatingly tender, and it’s all here to revel in.

Stars is simply a wonderful work by a wonderful artist, which can be enjoyed with or without the contextual groundwork of its sister album. Enjoy liberally and often.

The idea that synthetic beats only serve to sterilise is ridiculous and passé – but while they show potential for something really interesting here, they do have the effect of cooling and sterilising an otherwise warm and welcoming record.

Its cumulative impact is immense, the singer giving everything she has to the music. Limbs may not be an easy listen, but Keeley Forsyth makes it an essential one, singing from the depths of her very bones.

Yet for all these noisier moments, tracks like Desperately and IWR sit at the other end of the spectrum, striking a more consonant, conciliatory tone. It’s this ability to seamlessly blend opposing sounds and balance beauty with tension that makes for such an intriguing album, and very much confirms the old adage that good things are worth waiting for.

This seventh album blows all those preconceptions out the water, leaving a record that is finally pure distilled Avril that will connect with long time fans and the Gen Z kids who recognise her iconic status.

The Tipping Point manages to straddle the band’s past (the very early days aside) and stride on into present times, and that in itself should be enough to please more than one generation of Tears For Fears fans.

In swapping fiddles, banjo and slide guitar for synths, piano and dynamic guitars, Life On Earth invokes a true sense of step change, capturing Segarra moving into the spotlight with purpose and confirming herself to be an artist ready to embrace newfound opportunities.

Memoria is a substantial listen, and could probably be broken down into two shorter LPs of different styles, but its creative verve provides quality as well as quantity.

As it is Small World is melodious and twee in a good way.