‘ELE 2’ finds Busta Rhymes reseated at hip-hop’s top table – until the world comes to an end, of course.

The result is a consistently uplifting set that feels like Minogue’s best album since 2010’s ‘Aphrodite’.

For an artist who has long revelled in gruesome imagery and high concept, this feels like a surprise peek behind the curtain, and yet another sonic boundary crossed.

It’s underpinned by a sense of homecoming for the rapper. On ‘E3 AF’, he marks his territory, coming back to a sound he grew up with while tipping his hat to the future. He recognises his enormous contribution while reminding everyone that he’s not done, not yet.

What could have been an act of self-sabotage or self-indulgence – or both – has transpired to be a welcome reminder of all that this band does best, rooted in raw relevance for today and the cyber-punk energy of tomorrow.

‘Wachito Rico’ exudes a breadth of musicianship that proves Boy Pablo is no flash in the pan, despite having found viral fame overnight.

All of which is to say that ‘The Great Dismal’ sounds big, and far grander in scope than anything the four-piece have done before. ... There are points, however, where the record gets bogged down under its own weight, where a wave of noise subsides without doing any damage.

It’s a pleasant listen, but this feels strange juxtaposed with the lyrical content that flits between brazen vulnerability and all-out raunch-fest, demanding something more. As an introduction to the next era of Grande’s career, it’s solid, but you can’t help but feel it’s missing some of her trademark sparkle.

Eels’ most complete and self-contained record, arguably the epitome of their ouvre and a record that places E – in his own gruff, xylophone-toting way –alongside the great downtrodden romantics: Cohen; Rufus Wainwright; Stephin Merritt of Magnetic Fields; Nick Cave.

‘Love Goes’ does possess a handful of pop- and radio-friendly tracks, but at its core its Smith’s knack for sap and soul – and their singular, chilling vocals – that forms the base of the record. When it comes to songwriting, Smith oscillates towards what they know.

There’s sure to be filler across 25-tracks. However, when Ty is at his best, he soars vocally and continues to prove that he is both a hook and melody juggernaut.

Two empowering protest-techno-with-a-message juggernauts, ‘They Told Us It Was Hard, But They Were Wrong’ and ‘Megapunk’ mark a distinction and sonic evolution from the floaty dream-pop of 2017’s ‘Adapt’ EP and 2018’s rumbling club-driven ‘OK/‘So’. ... This debut harnesses the spirit and will to overcome forcefully and with inclusivity.

‘Strange Timez’ is yet another worthwhile endeavour, the band keen not just to match the skill and pace of modern pop outlets, but to outlast the competitors. Whether your consumption method was more traditional, or you’re perhaps tempted to binge every episode in this album format, there’s joy aplenty here.

With ‘Songs’ and ‘Instrumentals’ – the first comprised of acoustic singer-songwriter ditties, the latter a musical sound collage with no vocals – Lenker fashioned timeless, tender snapshots of grief that are grounded in healing.

A powerful synthesis of past and present, ‘Letter To You’ shows us the strength that can be found in sorrow. The result is Springsteen’s finest album since 2002’s ‘The Rising’.

From the start, it’s clear that this isn’t some posthumous dig around in a bucket of old offcuts in an attempt to bleed some money out of dedicated fans, but rather a slick and gratifying fulfilment of one of Petty’s long standing wishes. ‘Wildflowers & All The Rest’ feels less like grave-robbing and more like bringing back one of the all-time greats back to life.

‘Morning Pageants’ is a thought-provoking and totally unique body of work, one that will likely continue to inspire and confound as much as its subject.

Given the somewhat disjointed making of this record – a journey that stretches from 2017 to mid-lockdown – it lacks the cohesiveness of recent material. The songs origins, however, have come from a completely different place for Morby, one more instinctive and reflective, as he jots down snapshots and musings eloquently into a handy piece of kit. Given that it kickstarted a new exploration in his songwriting, the resulting project is still worth savouring.

The leap from bedroom-dweller to teenage riot instigator has been a swift and fruitful one, and what could be considered derivative is genuine in every sense. Circumstance might dictate that bedroom songwriting is back on the cards for Bea as the slow crawl to the return of live shows continues, but there’s a rock-solid foundation for the years to come.

Sure, it rests in a lot of the sonic territory of The National, and this isn’t the departure that his peppy indie-pop side-project EL VY represents, but what we do have is an intimate and generous offering from one of 21st Century rock’s most prominent voices.

20 tracks long, ‘Couldn’t Wait To Tell You’ is sleeker than the artist’s previous releases, but just as challenging and expectation-defying.

This isn’t merely a record by a good band. This is a record by an important one that is now teetering on the edge of greatness.

‘Edna’ is proof that he’s the unmistakeable, global ‘King of drill’, and much more besides.

In standing mostly still, Travis have found contemporary eddies swirling around them.

‘As Long As You Are’ maybe an unexpected handbrake turn for Future Islands and it may not be as hit-laden as its predecessor, but it’s a refreshing record in its own right and one that throws up plenty of existential quandaries.

As a whole, the album is confirmation of two young artists at the top of their game, watching the landscape unfold from the throne they earned themselves four years ago.

‘CMFT’ isn’t the most profound or intense album Taylor has put his hand to, but it’s certainly the most fun. He sounds in love with life, a man finally free of his darkness.

It’s a solid enough debut that really comes to life when the band don’t play it safe. However, lacking the star power that’s expected from musicians like these (you’d never know who was in this band without being told) it’s little more than the soundtrack to a great Friday night down the local boozer.