Endlessly charming.

Showcasing the eclectic Tinashe many OG fans first loved, ‘333’ gives off the same energy as early mixtapes such as ‘Black Water’ and the aforementioned ‘In Case We Die’, reminding us of the singular artist that Tinashe is and always has been.

Though ‘fun’ isn’t necessarily the first adjective that comes to mind taking stock of these finished covers, it’s evident that Angel Olsen had plenty of it delving into the emotive guts of each song. At times you miss the cheese of the originals, but this is a solid concept, extremely well-executed.

A muddled album that claims to love pop, but seems thoroughly averse to having any kind of fun.

‘The Ballad of Dood & Juanita’ is not just a faithful, fun celebration of a traditional sound, but that of a traditional form, too.

Given the period of separation we’ve had from them, it feels a little phoned-in in places and lacking cohesiveness.

This is an album that grows in quiet stature with every listen, new nuggets of wisdom making their way to the surface, peeking through its beautiful instrumentation that weaves a stunning, leafy tapestry. Few artists strike gold on every record they create but, for the third time in a row, Lorde has done it again, crafting yet another world-beater.

These clear, plucky songs may not be terribly adventurous for the most part, but they do feel like the ambitious work of an artist broadening their scope.

The risk here pays dividends. It’s their most ambitious and cohesive album to date and embracing their shoegaze selves brings renewal: for a band known for torment and chaos, it’s a joy to hear them sounding so hopeful.

O’Brien keeps us under with rich, sophisticated soul vibes, oceanic piano, languid sax solos and an overlying tone of optimism.

A deeply satisfying entry into their catalogue. It’s a homecoming of discreet intentions, not the pompous heroes return they’re likely used to – the modesty and subtlety suits them.

‘Model Citizen’ is the work of a band who are absolutely for the now. Mom, this pop-punk thing definitely isn’t just a phase.

Bird roars through the album’s 15 tracks, seamlessly transitioning to thoughtful downtempo moments. Broadening her sound to keep up with her perspective, she’s stayed true to her roots while knocking down the genre walls she was once placed within.

‘Loving In Stereo’ might not quite satiate as fully after the delicious hooks of its lead singles, but in elevating Jungle’s pulse overall, McFarland and Lloyd-Watson have captured what feels like a natural and necessary progression – and a fun, danceable one at that.

Throughout the album, Fredo doesn’t necessarily get as deep or introspective as audiences may demand. That isn’t necessarily a bad thing, but it does create superfluous tracks across the project.

With ‘Kings Disease II’, he has delivered a masterpiece of monolithic measures, completing arguably the best two-volume series in hip-hop.

Though ‘shame’ is no wild departure, its voice feels stronger. Cutting loose clearly suits IDER – this independent follow-up finds them free to pick apart all the complicated facets of shame in a slow-burning, smouldering fashion.

Liars’ most refined and accessible album has emerged.

Despite its brevity, ‘American Noir’ still feels like a truly significant entry in Creeper’s discography. These songs sound truly timeless, exist outside of trend and genre and are instantly recognisable as the work of their creators.

As with everything The Indications do, ‘Private Space’ is incredibly listenable, yet for all their efforts to expand their sound, they still rest often on the formula of old.

It might not leave you feeling as euphoric as what’s come before, but its lingering sensation is a testament to the power of Antonoff’s immersive songwriting.

‘Happier Than Ever’ fully establishes Billie Eilish as one of her generation’s most significant pop artists – and, better still, does so without repeating a single trick from the debut that turned her life upside down.

Following on from his eclectic debut, ‘USEE4YOURSELF’ finally etches IDK’s place in rap.

‘Welcome 2 America’ is an album that speaks to today’s problems and demands to be heard.

The results, on LUMP’s second album ‘Animal’, are simply thrilling.

It’s admittedly not the most cohesive album, infatuated with various experimental threads, but it’s also hard to fault this restlessness album, which is punchy and gutsy enough to hold up Torres’ constantly intriguing ideas.

Anne-Marie’s bold personality is finally given a chance to shine on a no-nonsense album that’s overflowing with chart-busting tunes and real world attitude.

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.