The record – which is equally rewarding to both newcomers and devotees of the genre – nails the transcendental and transportive qualities Thackray aims to showcase.

Bridges’ latest offering maintains the traditional elements of old-school soul heard on his previous work but introduces a new, vibrant, almost luminous aesthetic, comparable to the likes of Snoh Aalegra and Brent Faiyaz.

‘Spiral’ is a gorgeous, often filmic listen that rewards with each spin. Most importantly, Jaar’s enhanced vocal role gives a new voice to troubling themes previously suggested in the stirring moods of Darkside’s music. Eight years was worth the wait.

‘Taste Of Love’ is one of TWICE’s more powerful releases yet – despite a number of notable misfires – and showcases the group’s versatility in terms of vocals and concept execution.

He has some bangers, despite being pretty hit or miss. This second stab at musical longevity is exactly what it says on the label: all over the place. But at this point in his musical career, that’s not necessarily a bad thing.

Repeat listens showcase a project that’s rewarding for both listeners and, by the sounds of it, the artists involved.

Weighed down by star power, which eclipses Pop Smoke, ‘Faith’ feels more disingenuous than its predecessor.

It was a risky move, switching from conscious R&B star to grungy punk beau, but WILLOW has knocked all doubts out of the park – again.

Both musically and lyrically, this is Clairo doing what she does best – crafting gorgeous jewels that help you make sense of your own world, one step at a time. ‘Sling’ might take inspiration from classic songwriters of yesteryear but, decades from now, it will be Cottrill whom our future artists hold up with similar reverence.

It is by all means a stimulating body of work with ample substance, but it doesn’t take itself too seriously. Less focused on his innate individuality, it’s a John Mayer passion project that toasts to the good old days, when musicians were more inclined to follow instincts and feelings than clicks and likes.

By the time the end credits roll, Snow’s fulfilled his aim of providing some much-needed escapism and light; he’s also succeeded in instilling confidence in the listener that they, too, can be the star of their own story.

With the liberty of turning attention to new creative pathways, Williams has crafted one of their finest albums to date, this record an unshackled upping of the game.

‘It Won’t Always Be Like This’ is teeming with nervous energy over trying to find balance in a world turned inside out, while flashes of more mature reflections on saints, sinners, kings and dreams are also promising.

He expertly delivers gang stories with such authenticity that no wonder he’s still loved in his hometown. With ‘Vince Staples’ Kenny Beats has helped Long Beach’s finest release another spectacular record – even if it’s a slow-burn.

This new record not only keeps up that 100 per cent strike rate of golden tunes, but also gives us their best release to date. It’s an album that represents huge growth. Their vocals are more powerful and emotive than ever. ... Like true Gen Z artists, they pull from an extensive palette of genres, but manage to make each – be it angsty rock or a return to disco-pop – feel like it’s a sound they’ve been honing for ages.

It’s hard to find a unifying meaning beyond the beautiful noise or any indication, really, of what a band that’s cut‘n’spliced a plethora of sounds and genre has left to say or do. Perhaps a part two will answer.

It’s understated, and a quietly affecting success.

Once again, SAULT demonstrate the power of words and just how impactful music can be. It’s impossible not to feel affected by the stories being told. But, despite ‘Nine’s sadness, SAULT channel optimism and hope for a brighter future into their songs.

‘Pink Noise’ is steeped in liberation, not bitterness – it isn’t just a heartening comeback, but an absolutely sparkling pop album.

The record stands as an all-encompassing culmination of Tyler’s ever-varying sound, showing that growth isn’t always linear and that artists can be a multitude of things. On ‘Call Me…’, Tyler cements his place as a generational talent, one in fine form and continuing to push the boundaries of his vision and kaleidoscopic sound.

It would have been a major disappointment had ‘Escapades’ just been a rehash of leftover Justice cuts. Thankfully Augé’s thirst for the strange makes this album an odd but interesting solo proposition, which still makes some room for dancefloor slayers.

It all adds up to a job well done with more than enough bops to drown out her next social media controversy.

Despite the numerous directions ‘Greatest Hits’ charges off in and the many styles they splice together, this album never feels like bad cover versions.

SPElLLING’s third album is more of a grand statement of organic authenticity. An hour-long double, and far more melodic and accessible than her previous murky menacings.

While there’s a sense that Webster’s not taking the songwriting risks she once was, this transcendent set suggests sincerity suits her.

‘Please Stay’ is wistful and pretty, but largely forgettable, and the surging indie-rock of ‘First Time’ doesn’t quite hold up against the rest of the record. But for the most part, Dacus proves that looking back at your past might make you cringe, but there is beauty and value in those faltering, gawky days.

By the end of the record he’s dissected that toxic old institution with the wit, eloquence and beautiful musicianship. It’s an album that does not only confronts the cult of masculinity and its endless tentacles, but ultimately overcomes it.

The album is a masterful psychedelic patchwork, bouncing between eerie soundscapes (opener ‘Fuck Your Acid Trip’), knotty post-punk (‘Walking And Running’) and maximalist pop melody (the ludicrously good fun ‘The Sun Hasn’t left’).