It works as a display of real power, range and versatility – all of which Rodrigo possesses in abundance.

This is an album that shuns almost any traditional categorisation, and is all the more thrilling for it.

‘Now That We Don’t Talk’ is the Vault firecracker. Not only does it fizz with ‘80s influence, but Swift’s versatile, honeyed vocals are stellar. .... The sweeping, evocative storytelling of ‘Suburban Legends’, meanwhile, calls back to the evocative detail of Swift’s previous eras, including mentions of mismatched star signs, class reunions and a ’50s gymnasium. ‘1989 (Taylor’s Version)’ feels more symbolic than her previous re-releases.

To say this album is epic would be an understatement; it’s a work of art in the truest sense.

It’s the sound of a band bolstering their already formidable palette. Free from the shackles of Reznor’s self-imposed trilogy of releases, the masters of melancholy sound rejuvenated, and ready for another 30-plus years as kings of the musical underworld.

His signature dreamscapes still melt through his softer, acoustic melodies on tracks like ‘Serenade’ and the crooning riff of ‘Greatly’. The beauty of his work lies in his ability to create something completely unlike anything else, yet still it pulls from universal experiences. Take a track like ‘Nice To Meet You’ – a song about yearning – or the twinkling ‘The Weave’, and see how he elevates these regular emotions to ethereal heights.

The 1975 have somehow put out an album made for introspection and headphone listening and dancing around your living room, something deep and sprawling and occasionally silly to dig deep into over many listens, during which your favourite track will shift on a daily basis. Something that requires time and attention – something just right for now.

[The] duo show a passionate reverence for the album format, from the artwork that took over 18 months to create to the songs that boast both style and substance. It’s one of 2024’s most engrossing listening experiences.

From the raucous nu-metal to glittering R&B, ‘SAWAYAMA’ is an honest, genre-exploding self-portrait.

It’s a rudely excellent album, introspective without ever being indulgent, OTT in all the right ways, honest and brave, full of brilliant songs with lyrics to chew over for months.

What you have in ‘This Could Be Texas’ is everything you want from a debut; a truly original effort from start to finish, an adventure in sound and words, and a landmark statement.

It is wonderful to once again hear a Deftones record as heavy as molten lead, as furious as an enraged honey badger.

Everything about Joy As An Act Of Resistance is just so perfectly realised.

It’s so different from the rest of the music he has been putting out, and Young Thug shows that he can make hits can transcend the rap world. Many say Young Thug is one of the greatest musicians of the current generation, and with ‘Punk’, he’s proved that to be true.

It’s enjoyable and familiar, but retains Billie’s disruptive streak. It’s a brave and resounding first step for an artist with bags of potential and over the next decade, you’ll no doubt see popular music scrabbling to try and replicate what this album does on every level.

Really, this is a piece of work to dive into and consume whole.

Parcels have taken control of their destiny with a project that’s well-thought out and engaging from start-to-finish. It feels both timely and from a different era--a very rare feat.

Easily Mike and El-P’s best work to date, ‘RTJ4’ is protest music for a new generation; they’re armed in the uprising with a torrent of spirited rallying calls.

An 11-track album that finds them at their most dynamic and urgent.

A tour-de-force of production chops that reaffirms Grey’s established position as a key auteur in the future of her genre. More Black Mirror than Twin Peaks, ‘U’ is an intimate hyperpop record portraying snowballing isolation, a digital-age pop star’s yearning under the limelight of the techno-infused Anthropocene.

Across 10 air-tight tracks, meticulously crafted and elegantly delivered, it’s an absolute triumph.

Assume Form finds James Blake clear-headed and in focus like never before. The influence of his new partner (actor Jameela Jamil) can be felt throughout.

Always ready to tell the hard truths for those who can’t, Dave has proved again that he’s a voice of a generation, sitting pretty atop his peers when it comes to making unforgettable London rap classics.

The production throughout is nothing short of exceptional. With the full backing of an orchestra, there is a richness to the sound overseen by seminal producer Inflo. Their chemistry is apparent throughout as the vocals and production coil around one another egging the other on to new heights. ... It’s not hyperbole to suggest that this canonises her work forever, elating her to be one of the greats.

As with releases previous, there are wrinkles that will only emerge after the record is lived with and absorbed. But if you’re wondering whether ‘Fear Inoculum’ was worth the wait, then the answer is yes. If you’re wondering whether it’ll touch your heart, soul and spirt, the answer is also so.

Noname isn’t bringing us a romantic rags-to-riches story; here she acknowledges the pitfalls of fame (as well as the occasional perks) with whip-smart honesty. Just like ‘Telefone’, it’s flawless.

Debut album Songs Of Praise courses with venom and a lithe vigour that is all their own.

These are all songs that, just like the rest of Phair’s finest moments, have a delicious knack for becoming lodged in your brain.