Rosalía isn’t so much carving out her own lane as building her own ultra-modern, super-bendy sonic motorway. It’s one you’ll want to hurtle down again and again.

At times, ‘Crash’ eases off the throttle slightly – the interpolation of ‘Show Me Love’ on ‘Used to Know Me’ is infectious, if slightly too straightforward, while smouldering ballads ‘Move Me’ and ‘Every Rule’ could do with more of the skewed hints of unfamiliarity found in spades elsewhere. These are minor gripes, though, and by the time those synthesised strings whirr into life on the jagged pop-funk track ‘Baby’ they’re easy enough to overlook.

Kojey Radical sells us the image of refined Renaissance man he has become, rather than merely resting on his potential.

Opening up the definition of rap-rock, TheOGM and Eaddy prove that you can hold yourself to the same intricate lyrical standards of rap, while sounding closer to the rockstars they grew up falling in love with.

The music that Ghost make over twelve tracks, more than ever before, is a truly delicious pop-rock proposition.

‘Who Cares?’, O’Connor’s fourth album, is a gorgeously measured step forward.

‘Reeling’ is gripping throughout, and the band always seem ready to ascend to another level.

BODEGA’s most vital moments come when they lower their guard down and just let it all out.

The vocals are as limber as the glitching, swaying soundscapes and the whole album is a mesmerising listen that constantly surprises.

With ‘Topical Dancer’, they have created an album that works just as well as the soundtrack to a killer house party as it does a necessary act of rebellion against the negative forces in our society.

It’s clear that the members of MICHELLE are moving forwards together in search of something new, but are grateful to be in no rush to find it.

This record offers a maelstrom of mistakes and confusion and glee and love and loneliness and hope – and the mess of it all makes for the biggest gift.

Even if ‘Painless’ occasionally settles into a consistent, thudding groove at times, when Yanya goes full pelt, she’s at her very best.

It all adds up to a thoroughly enjoyable listen that confirms what fans already know: even a middle-of-the-road Dolly Parton album has lashings of charm.

Far from just leftovers, the second excellent album to come out of this rich period proves that the well runs deep in Tamara Lindeman’s imperial phase.

caroline’s masterpiece might be yet to come, but this formative debut album opens up a world of possibilities.

As the new face of drill music, “from Bush to Beverley Hills”, ‘23’ shows that Cench repeatedly proves his worth and as his talent continues to blossom.

As they adopt the very sounds that cultivated them on their come-up, ‘Ghetto Gods’ should mark the start of EarthGang’s ascension to superstardom.

This album is the work of a man with no time for big cash reunions or the squabbling that prevents them. Instead, he has turned in a record fuelled by soul and new ideas.

A majority of the songs on ‘Love Sux’ clock in at under three minutes, giving the record a fiery sense of purpose. From the fraught emotion behind the vulnerable, delicate ballad ‘Dare To Love Me’ to the snarling guitars of ‘Déjà Vu’, every moment on the album is deliberately melodramatic.

Bad Boy Chiller Crew clearly just want to keep make songs that purposefully and brilliantly celebrate the hedonistic corners of life – and that desire should be embraced. They locate their power not just in the recording booth, but on stage, the race track and the dancefloor, fully self-aware and seemingly unstoppable.

Yes, the record can sit a little awkwardly between being nostalgic and current – given her enlisting on next-gen stars for a hip-hop soul collection – but the take-the-power-back narrative really makes these songs shine.

A decidedly strange record with flashes of beauty and brilliance, then. How utterly Yoko.

We may be living in shit times but in ‘Everything Was Forever’, Sea Power have produced an album that is both brutal and beautiful, and which offers us all some much needed hope.

‘Small World’ might be the biggest diversion from their main stage sound to date, but it’s also one of the most heartfelt and rewarding. Metronomy, it’s good to have you back.

Even in its more intimate moments, there’s a certain theatricality to ‘Once Twice Melody’, which is home to some of Beach House’s most surreal lyrics.

An astoundingly honest, and at times brutal, listen, ‘PREY//IV’ still ends on a note of hope.

If this is an awakening, consider our attention well and truly captive; clever, confident, and utterly comforting.