Working with producer FaltyDL, who’s credited on every track here, Blanco creates a body of work that feels cohesive but not constricted.

It is hard to know whether Bloom wants us to engage with the zen-like revelations that arose from being trapped in the thudding reality of one identical day following another, or whether he is inviting us to switch off our minds, relax and float downstream. The result is an album that has the capacity to do both, but never truly perfects either.

‘Culture III’ is more focused than its exhausting 24-track-long predecessor, but a stricter edit here could’ve enhanced the experience even further.

Utilizing beats from prolific producers such as Wheezy and Chi Chi, ‘The Voice of the Heroes’ is technically accomplished but, given Durk and Baby’s sometimes monotonous verses, it’s great only in smaller doses.

Ironically ‘Jordi’s stand out songs are the ones lacking almost entirely in guest star pull – instead, in these moments, they fuse ambitious, wide-screen arena-pop with messier, more complicated subject matter and Adam Levine’s feelings and experiences over the last three years. It’s here that Maroon 5 break free of paint-by-numbers pop, and unearth introspective clarity instead.

12 years after the tracks ‘Obsessions’ and ‘Mowgli’s Road’ introduced us to a singular musical talent, Marina’s melodies and vocal hooks still don’t sound like anybody else’s.

This formulaic approach lacks surprise – once you’re a few tracks in, you’ve heard it all. It might not be a total hot Gizz summer, but at least we’ve got a few extra bangers to bask in.

It’s no mean feat that ‘No Gods No Masters’ is not only Garbage’s best album in 20 years – at least – but one that could only have been made now.

What could’ve been a savvy dissection of seeking out connection during a surreal year instead see them go straight down the line.

Throughout, you get the sense Greentea is defiantly doing everything in her own sweet time. Lucky for us, then, that her sense of timing is in sync with the universe, because this hazy set is ideally suited to the long, lazy summer days.

The multi-talented musician’s downfall is sometimes that he wraps melodies in so many layers that it barely has a chance to breathe. ... Whatever the flaws in some elements of ‘Changephobia’, Rostam can be proud of creating an album that showcases his talent as a producer and is truly unique.

Even when things get musically darker on the shimmering alt-pop of ‘Posing In Bondage’, there remains a prioritisation of pop melody; the fat is trimmed from all 10 songs on the record, leaving perfectly formed three-and-a-half-minute pop songs that want – and deserve – to be blasting out of your radio.

These are all songs that, just like the rest of Phair’s finest moments, have a delicious knack for becoming lodged in your brain.

‘Monthly Friend’ might not be the progression we were quite hoping for, but there are sparks of more refined songwriting and tunes lifted by a bolder voice. An artist who’s so admirably dedicated to their craft is certainly one to keep an eye on.

‘Blue Weekend’ is another stone-cold masterpiece that further cements their place at the very peak of British music.

‘Convocations’ is a mature work, but its length and intricate creation makes it difficult to get under its skin, the record’s wonderful honesty hidden behind layers that you wish could be peeled back.

A melancholy streak runs through the album’s second half where tales of devotion (‘Lifeboat’), longing (‘Daydreams’) and ruminations on mental health and anxiety (‘Nightmares’, ‘Living Strange’) shine.

Overall, ‘Reprise’ is full of dignified reworkings that don’t offer too many surprises.

Adding interesting new textures to his playbook, it’s perhaps helpful to think of ‘The Waves Pt.1’ as a soundtrack to something bigger, the wading out to sea before the full immersive plunge. By the time ‘Part 2’ arrives, Kele will likely have found even more ways to expand his horizons.

Less a cohesive body of work and more a collection of tracks, ‘Exodus’ feels a little unfinished at times, because of a lack of verses from X and the occasional filler record. Nonetheless, it’s a wonderful tribute record loaded with stellar individual moments, and serves as a beautiful reminder of why the world fell in love with DMX in the first place.

Black Midi will almost definitely never make easily digestible or understandable music – they’re probably as excited and confused about where they’re heading next as we are – but to focus on the finer points and try to make sense of it would be to miss the overall point of the band. Simply going down the rabbit hole with these deeply weird, brilliant musicians will never be less than exhilarating.

The result is a fulsome, heroic thing.

Sure, there is some inevitable fan service – the title, after all, is an anagram of ‘Clancy is dead’ – but this album sees one of the most fearless bands of their generation continue to take risks.

For the most part, Rodrigo has passed the bar she set on that single [‘drivers license’], sharing with us an almost-masterpiece that’s equal parts confident, cool and exhilaratingly real. This is no flash-in-the-pan artist, but one we’ll be living with for years to come.

With ‘Intruder’, he’s chiming with the times – and sounding thrillingly relevant in the process.

In ‘Seeking New Gods’, Gruff Rhys has yet again crafted another pop gem of an album.

It’s her most mature, vivid work yet – and would be impressive from an artist of any age.

Its DOOM quota is surprisingly small. ... But is the record good? Unquestionably. Is it fun? Very.