Not only does it shine a light on what inspires one of the greatest living American songwriters, it also works to preserve the greats of the past and ensures that the best music and stories continue to survive.

‘Loud Without Noise’ covers a lot of ground – including relationships, mental health, and social inequality – with the songs working on two levels. Minto often addresses an issue on a broader scale, while also tying it to personal experience.

This latest album is his most fully-realised yet. There may be no answers to be found on ‘Worm Food’ but who needs them, when there’s so much raw honesty, understanding and self-empowerment.

Woven from a great many creative ideas, ‘Miss Power’ could have felt messy. But through Constance’s skilful bird’s eye view, it instead twists the key in the pandora’s box of her potential, re-introducing her unique take on the world.

This is delicate dreampop rendered without the usual disorienting layers.

It’s yet more evidence that Drake’s art is suffering under the strain of his obsession with churning out as much music as is physically possible. And while 21 doesn’t have the same problem, both halves of the duo are responsible for an album that had the potential to be a classic, and missed.

For ‘Big Joanie’ to musically expand this thoroughly yet retain the core of their appeal and singular brilliance on ‘Back Home’ feels remarkable, and you get a sense that it’s far from a final form for the band.

Another gem in First Aid Kit’s consistently good arsenal of timeless, harmony-rich roots music.

This record carries some of Phoenix’s most intimate and approachable songs in years.

Gibson’s inclination towards expressing thoughtful and emotional contemplation largely balance out the record’s apparent eagerness to simply rave through the pain.

If there’s one criticism you could level at ‘Crybaby’, it’s that its slow-burning nature lacks the immediacy or clear-focused thrills of ‘Heartthrob’ and 2016’s ‘Love You To Death’, or the clever concept behind ‘Still Jealous’. But once ‘Crybaby’ truly clicks into place, it makes for another solid collection from a band ever-resistant to categorisation.

Sonically, it’s his most polished record yet. London producer kwes delivers a soulful, melancholic sound that helps Carner move from dynamic, multi-syllabic storytelling to a more honest, reflective voice.

This is an album that thrills in furious energy, but maintains a balance between light and shade via a deep understanding of dynamics.

Fully fleshed out pop songs with endless charm, if this is what living in the moment sounds like, it suits her.

After a foray into a different sonic world, on Swift’s return to pure pop she still shimmers.

A record that, when given the requisite time and attention, offers unfathomable depths to explore.

‘Congregation’ is a fiery, relentless punk blowout that pulls no punches against priests, patriarchy and those who abuse power from the top of our society.

‘The Car’ is almost overwhelming in terms of its ambition and scope, but provides ample motive to revisit this record over and over again.

If the trimmings were removed from ‘It’s Only Me’, it might rival his previous releases – instead it’s a few notches shy of greatness

The result is an album that’s spiky, surprising and not quite cohesive, but never ever boring. Tove Lo was always much too interesting to be a slave to the algorithm.

A record that establishes Ballentine as a clear-eyed truth-teller, with poignant songs that move relentlessly as she revisits cobwebbed childhood nightmares and the dark shadow of familial trauma.

This album is an almighty slog, one where the vibrant new is weighed down with a lot of the same old tricks. For all glimpses of bold musical and lyrical steps forward, they remain largely the same band they’ve always been with ‘Return Of The Dream Canteen’ offering an all-you-can-eat buffet that often feels overwhelming.

From their pen through to their sound, ‘Here Is Everything’ is emotive and glossy; one that gives space to breathe in this busy world.

‘FOREVERANDEVERNOMORE’ is never quite an album that is completely comforting or despairing. Instead, it explores the vast reaches between the two and uses introspection as a means of finding stability in the chaos.

It’s rare that an electronic album manages to tell such a strong story while eliciting so many different emotions. Impressively balancing meditative calmness (‘Time’) with rave euphoria (the guitar-led ‘Running’), ‘Capricorn Sun’ proves that TSHA really is in a league of her own.

‘Suckerpunch’ is a bold sonic adventure that thrives on excess. Throughout the record’s constantly shifting 13 tracks, Moriondo proves that she’s an artist that can do it all, all while having an absolute ball.

While Snaith could’ve easily packed ‘Cherry’ full of wall-to-wall bangers, it shouldn’t be too surprising to hear that he does switch things up. The soothing steadiness of ‘Clavicle’ and the exquisite piano loop of ‘Cloudy’ are fine examples of when his toned-down production approach works wonders, though he can be guilty of overindulging.

Combining the band’s slightly sidelined knack for writing huge, immediately memorable pop bangers with the more complex, neurotic lyrical voice of The 1975’s more recent releases, ‘Being Funny In A Foreign Language’ feels like the right next step after pushing experimental excess to its logical conclusion.