It’s a confident, cohesive return that sounds like Keem has stopped trying to prove he belongs, and started figuring out what he wants to say now that he’s here.

‘No Lube So Rude’ might be Peaches’ slickest work yet.

A solid slab of new music from her – the perfect soundtrack for a winter of yearning and discontent.

The album suitably builds on everything that ‘Going…Going…Gone!’ teased, re-confirming Udu as one of the most flamboyant and honest artists in the pop space right now.

Is ‘Masquerade’ a classic? Time will tell, and Cardinals have demonstrated the potential to grow into something more special. At the very least, they’ve made a record that’s sadly but beautifully in tune with these times and the scars of where they’re from.

Unfortunately, by making snapshot songs, he’s created a scattershot album. ‘Piss In The Wind’ plants plentiful seeds for Joji’s next direction – now, he just needs to let the good ideas grow.

Softcult’s debut album is a confident evolution of their prickly punk but also sees them pushing into bold new territories.

The album’s pleasures are tactile and immediate, the kind of R&B built for dim lights and late-night texts.

Ultimately, this is a more mature Rocky: suited, settled and self-assured. The bachelor’s grown up – and somehow, that hasn’t dulled his shine at all.

There’s impressive variety contained within ‘Dead Dads Club’ too. ‘Volatile Child’’s direct indie hooks throw back to the melodic smarts of early-Strokes; ‘Junkyard Radiator’ arrives woozy and disoriented in a drug-addled, psych-tinged haze, while ‘Need You So Bad’ rings with a gentle kind of euphoria.

Patchiness is the main shortcoming of ‘Dreamer+’, interrupting the immersion that Lindgård commands so carefully in tracks like ‘Dreamer’ and ‘Sleepwalker’s Pendulum’. Nevertheless, the record proves Lindgård is a force to be reckoned with on all fronts – as a producer, songwriter and vocalist.

The band once again remain loyal to their signature blend of chugging riffs, angst-fuelled vocals, and enough shreddy-guitar solos to make your head spin. This is an unwavering commitment that remains throughout, and ultimately becomes both the record’s main redeeming feature and its biggest downfall.

The band’s most musically ambitious and diverse record yet.

An album to be remembered for? Probably not, but it’s bold, it’s a laugh, and he’s done it his way.

‘What Happened To The Streets?’ doesn’t musically reinvent trap the way its more cinematic predecessors did, but the new record showcases 21 Savage’s duality – an ascendant star perpetually wrestling with demons.

It’s the work of a group who’ve managed to grow up without losing their spark. On ‘Selling A Vibe’, the trio are still finding new ways to sound like The Cribs – and that’s a more impressive and unusual feat than it might first appear.

‘Secret Love’ is an accomplished, assured effort – like its predecessors, yes, but in a manner that subverts the expectations set up by them.

Though he could push his sound to be a bit more personal, he’s already armed with a generational voice, an explorative mindset and a singular writing style. Something exciting is bound to emerge from the storm.

While De La Soul’s social commentary is incisive, at its core this is an album about David Jolicoeur and the space he’s left behind.

On ‘Finally Over It’, the final instalment in the series, Walker feels unshackled for the first time, no longer haunted by her public break-ups.

On this debut album, Picture Parlour have shown that, in time, they have the skillset and belief to escape the shadow of their idols, and refine their own unique sound that future rock’n’roll bands will be dying to emulate.

‘Afterglow’ might be ‘Eusexua’ offcuts, but FKA Twigs’ B-sides are so good they can outrank entire discographies. Does it live up to the lofty marketing of its predecessor? Perhaps not. But it still proves that Twigs is one of the most prolific and original alt-pop icons of our times.

Fans of ‘Giving the World Away’ might be disappointed to find that she’s retreated, somewhat, from the ambition and sonic diversity of that release. This kind of sound, though, is what Pilbeam does best; she doesn’t just ape her influences, but channels them with nuance and empathy.

Sometimes the introspection is a touch overcooked, the lyricism stumbling into platitude. But the honesty and self-interrogation should be applauded, and the powerful, richly textured soundscapes behind it all show why Daniel Caesar is revered as one of the most important artists in modern R&B and soul.

Sorry’s mystique has never been greater, and they’ve never been more intriguing.

It is an astonishing record – one that continuously stops you dead in your tracks, encourages curiosity, and builds a new world for you to dive into, while connecting to the sounds of all of Rosalía’s previous releases.

As he ricochets through twitchy rave pulses, sugar-corroded pop sheen and chrome-filmed club futurism, Brown is still unmistakably himself – even if not all experimentation lands perfectly.

Part of this brilliant record’s charm is its potential to be a low-stakes, high-quality one-off – a curio waiting to be discovered somewhere along the way.