It’s their strongest record in years. ... A group working at the height of their considerable powers.

It might not be as immediate in places as some of his previous albums but given time these songs grow and blossom in similar fashion to the flower that adorns the album cover.

With The Dream, we see a maturing band dip deep into their emotions, immersing us not only in art and culture but in their dreams, and it is utterly brilliant.

In short, it’s another set of beautifully crafted sound portraits, rich in detail, in which to both decompress and luxuriate.

Heterosexuality is in many ways bold, both stylistically and in terms of message, but what goes missing in its weaker moments is akin to the ghost in the machine: that compositional spark which would elevate the record beyond the sum of its parts.

You can’t help but feel that See Through You is also an evolution – for all the right reasons. “Crazy-noise-rock” is at its core, but with some interesting curveballs peeking through the onslaught, perhaps the band are approaching their greatest adventure yet.

At its best, Motordrome serves as a reminder of why she deserved that success, and why she still deserves attention today.

There’s everything from glitchy pop, dance tracks and emo rock on this album, but a key message, Smith’s unique vocals, and a tendency towards electronic earworms, make it a sonically cohesive work that has just the perfect touch of modern life to make us feel something, but with enough escapism that we don’t burn out from it.

Time Skiffs is a vibrant album, suggesting Animal Collective have well and truly rekindled their collective fire – and because of that, the pleasure is all ours. Gather round and enjoy its heartening warmth.

This is a record you can dance to, even if it’s also a record you can cry to. The sum is an inspiring record both for the creator and the listener.

Glitch Princess certainly isn’t an easy record to listen to, yet neither is it wilfully difficult or unwelcoming. It’s perfectly emblematic of the pop period we’re living in, with a new generation of artists changing the meaning of what it is to make pop music on their own terms.

Three Dimensions Deep is a winner, as diverse production allows for a collection of tunes that are never boring.

As a study of a man starting to slowly regain his feet after a major relationship break-up during a pandemic, Extreme Witchcraft has plenty to say. As a collection of Eels songs though, it unfortunately falls some way short of the band’s best work.

Throughout Ants From Up There, they seem to revel in the creation of different atmospheres rather than the laying down of hooks or choruses.

The addition of electronic elements to her sound here suggests Godmother to almost be like a set of vintage photographs that have been digitally restored. It might not be enough to move her out of the musical shadows (a place she may well feel content to stay) but it shows her capable of pursuing idiosyncratic alternative paths while consolidating her position as a distinctive, singular artist.

The music is fun and easygoing, whether it’s the title track’s blissful 80s-style chords, or Make It Out Alive’s sparkling synth line, or the dizzying strings of Sweet Talker (a far better Galantis collaboration than Heartbreak Anthem with Little Mix). When the pace drops the results become more mixed, as Intimacy sports a clumsy riff under melodies that don’t gel while 20 Minutes is nice but forgettable.

There’s very little here to dislike, so stick it on loud, turn off the lights and sit back and enjoy.

These songs are her most heartfelt to date, reaching into the depths of her character. The influence of Björk is occasionally audible, but so are inflections from as far afield as Enya and composer Karl Jenkins. Yet Aurora is very much herself, one of the most exciting female singers around – and The Gods We Can’t Touch adds another set of strings to her generously filled bow.

Yard Act’s influences never overwhelm their own personality. ... It may be early to start taking notes on the Album Of The Year, but the smart money says The Overload will be there or thereabouts.

It’s probably not the sort of album to cosy up with – there’s so much emotion pouring out of Cummings’ vocals that it may all become a bit much for some listeners. Yet it’s astonishing that this is just her second album – there’s more poise and talent on display on Storm Queen than in artists with twice her career.

This is, without cliché, a life affirming record. It is easy to share in the wonderment at such a young life when Weeks phrases his vocals as he does.

None of this will come as any surprise to seasoned Costello watchers – indeed, it could be argued he’s been on a creative purple patch since 2018’s Look Now. For those who thought that age may have dimmed the fire that’s always been Costello’s trademark, A Boy Named If is proof positive that the opposite is true.

When they’re on the game, The Wombats are well capable of turning heads and catching ears (People Don’t Change People, Time Does) and they have a pleasing habit of writing songs that sound remarkably cheerful despite sporting bleak subject matter (Everything I Love Is Going To Die). They’re not always successful.

As ever with Marshall’s covers project, it’s a mixed bag, but there’s more than enough here to keep Cat Power fans satisfied until her next album of original material comes along.

Fragments does not outstay its welcome, but only because it isn’t distinctive enough to be consciously welcomed in the first place. Recommended for owners of trendy cafes and companies in need of hold music.

With Dawn FM The Weeknd has demonstrated a vision that the vast majority of his peers would be incapable of, and has executed it with finesse and a slippery, enigmatic charm.

Transparency is the sound of a band restlessly searching for a new direction and pulling it off very well.

Now Or Whenever doesn’t feel like natural progression when held up against Moth Boys and earlier debut Enjoy It While It Lasts from 2012, but its ability to have you singing along in very little time at all is an impressive quality.