When positioned against their previous releases, ‘Formula Of Love: O+T=˂3’ paints a picture of a masterful act, one who has learned to wield their talent and concept into one cohesive banger after another.

‘Fighting Demons’ is evidence of a nuanced, complex artist whose legacy is stunning in its richness.

There’s nothing complex about what Rick Ross does. ... Ross consistently portrays the ‘old Rozay’, garnering successful results more times than not. Sometimes simplicity is key: if it ain’t broke don’t fix it.

Though nothing is as memorable as Keys classics like ‘If I Ain’t Got You’ and ‘Fallin”, her melodies are undeniably lovely. ... ‘Unlocked’ isn’t strong enough to turn this into a top-tier Alicia Keys album, but it does make it a project worth investigating. With some judicious pruning and sharp sequencing, any Keys fan should be able to carve out a pretty satisfying playlist.

Raw and rugged at every turn, the album captures the telepathic bond that these rock’n’roll renegades have cultivated over the years. ... Neil Young remains as vital as he always has been.

Another slice of NYC art-punk brilliance that channels their surroundings with an authentic growl.

At their best, the arrangements here feel like thoughts in progress, with Humberstone’s distinctive vocal speaking to the turbulent feelings that bubble underneath the surface of her songs.

On ‘It’s All Smiles’, No Rome has created an immersive world that envelopes you like a warm hug and urges you to let it all out – whether happy or sad. It might have taken a while to get to us, but an album with that effect is often worth the wait; Rome’s debut most certainly is.

‘iiiii’ floats up into the clouds – often pairing sparse plunks of piano with haunting choral vocals and snippets of ethereal sound design. Of all ‘Kick’s instalments, this one is the most meandering, focused on conjuring up an atmosphere, and living within it.

Comparatively, ‘iiii’ feels much softer, drenched in futuristic hues of pink and peppered with a handful of well-matched guest appearances.

‘iii’ goes in hardest, taking its cues from the harshest strains of club music, and beckoning in pure, confrontational chaos almost immediately.

‘ii’ draws heavily on reggaetón, before warping its rhythms with menacing washes of synthesiser, and wonky vocal manipulation.

‘Algorithm’ will probably appeal more to the older hip-hop cynics, though anyone who grew up in a house where their parents played ‘California Love’ or ‘It Was A Good Day’ will also revel in the nostalgia offered by the record.

It’s a tender passing of the torch.

The result is a soothing, slow-burning collection which reflects on times and friends gone by.

With ‘CRAWLER’ they take their own advice, adding a whole new dimension to an already beloved band. This appears a stepping stone in the band’s evolution, rather than the finishing line.

Though this is her most creative record to date, the lyrics stick to safer territory.

On ‘An Evening With Silk Sonic’, the magic is in the way that the music moves: the songs are radiant and full of joy, formed from the synergy of two relentlessly creative minds. The album glows with appreciation for the simple but irreplaceable power of working alongside someone you trust and respect like no other — and it sounds as effortless and rewarding as an old friendship.

It’s not an exercise of rethinking and tweaking old songs, but to take back ownership of her own music. The production here is a little sharper, with the instrumentation being brought further into focus.

It’s a record that will become like a familiar friend over repeated listens, and shows how the band have built elegantly on the foundations of their debut, fizzing with self-belief at every turn.

Considering it was made during a time when we couldn’t go anywhere, this album is at worst a fittingly scenic trip through the places that inspired it, and at best a fresh new sonic chapter for Albarn and a wonderful way for you to leave all the nonsense behind; blissfully reminded that there’s a beautiful world out there.

They’ve delivered a true modern-day classic of the synth-pop genre.

True to title ‘Things Take Time, Time Time’s unshowy songs take hold more slowly, but Barnett’s small snatches of happiness grip you all the same.

Walker has a song here for every feeling following a crushing break-up, from confusion to anger to outright pettiness – and it’s the kind of unwavering quality that we all love her for.

There are some bumpy moments along the way, but this ‘Voyage’ is a nostalgia trip worth taking.

Ultimately, ‘Kid Amnesiae’ not only offers a mood piece, but also a companion and secret history behind the making of two essential, landmark records – and the rebirth of a great band.

This ain’t ‘Chinese Democracy’. ‘Still Sucks’ doesn’t feel laboured or overthought and never overstays its welcome.

Ultimately, it feels as if everybody involved in ‘Thank You’ has reverentially tried to make the platonic ideal of a Diana Ross album, but instead fallen into the late-career artist deadzone of a pleasant record that neither particularly updates nor diminishes her legacy.