‘Gold Record’ finds him ploughing firmly against the grain. As the wider world collapses all around him, the prolific singer-songwriter has released the warmest, wittiest and most comforting work of his career.

Part Brooklyn-punk, part folk-troubadour, ‘The Baby’ marks the coming-of-age of an intriguing songwriter, who isn’t afraid to take on the anxieties and uncertainties that keep you awake in the small hours.

A charged effort with dynamic results, ‘Karma 3’ may not be as flawless a spectacle as ‘Survival’, but it’s not all that far off. And it’s definitely the best entry in the ‘Karma’ series. East remains consistent, unapologetically flying the flag for New York hip-hop.

It was a savvy decision to recruit The Blessed Madonna: the result is a collection exciting, genre-splicing remixes that you could genuinely imagine hearing in the club. It may not have been the album celebration Lipa was planning, but ‘Club Future Nostalgia’ feels like a party all the same.

This collection encouraged them to follow their instincts and embrace the melodies, choruses and beats that arrived the fastest. The result is brilliant, bruising dance music right from the gut.

The largely well-executed ‘SuperGood’ provides enough evidence to suggest he’s en route to bigger and better things.

It isn’t even that the songs are bad – it’s worse than that: they’re largely forgettable. Gone are the pithy couplets and catchier-than-a-rash hooks, replaced with lacklustre imitations.

By marrying their fun-lovin’ musicality with songs that stand up to injustices, Dream Nails rollicking debut will rattle around your head for days on end – for more reason than one.

Here The Magic Gang have acted on pure instinct and feeling. This is an album that, despite its recognition of the downside of things, ends up as a more reassuring – and more real – listen than their debut. With its collage of genres and refusal to co-opt modern trends, album two finds the band moving towards something timeless.

‘Use Me’ is the sound of an artist flexing her muscles, making sense of and peace with her past and, most importantly, embracing a new future.

If ‘All Mirrors’ took you to a lavish, creaky ballroom, then ‘Whole New Mess’ tucks you away in the cupboard under the stairs, the door slammed tightly shut.

By allowing her songs to breathe, leaving space for contemplation, ‘Inner Song’ is a perfectly-arranged album where each track has a part to play: an emotive-yet-euphoric collection that’s made for late-night reflection, Kelly Lee Owens has made one of the most beautiful records of the year.

Though often overpowering and, by the end of the record, a little wearing, this palette provides a consistent buoyancy and energy – and there are plenty of times when The Maytals turn it to their advantage.

The album is stuffed with this kind of lyrical proficiency, which demands high levels of dissection. ‘King’s Disease’ is an acutely perceptive and culturally relevant body of work that finds its author willing to try out new ideas. There’s a genuine conversation to be had about whether it’s the best rap album of the year so far.

‘In Sickness & In Flames’ is a defining work that showcases a sonic universe, rather than a structured set of songs, expertly capturing the inescapable tension of 2020.

‘Blush’ shows the work of a songwriter who, even as something of a rookie, can command your attention and emotions with the most effortless of lines and make you consider your own life and relationships with the gentle encouragement of a close friend. Hold ‘Blush’ close – it’s a special one.

The track list lurches, rather than blends seamlessly, and on the spacey ‘This World’ she plays with an atonal vocal line (and the admittedly great lyric “you little prick – what do you know?”) that typifies her preference for experimentalism over accessibility. Even so, Moolchan remains as singular – and sophisticated – as ever.

‘Source’ is a reflection of Nubya Garcia’s hometown; a mirror spotlighting London’s skilled musicians and a reminder of how thrilling this scene can be. The project’s urgency is baked in calming undertones, forcing listeners to be meditative and to connect, and a sense of rejuvenation, providing a call towards a larger sense of community.

‘SUGAREGG’ is confident and assured.

As with the best of Bright Eyes, there’s a bittersweet meeting of macabre words and folky tunefulness.

The ideas in ‘Songs For The General Public’ are rich, creative and often funny, but its musical staying power is lacking.

The Killers have made another dazzling statement of ultra-modern pomp, and one arguably even more in step with new generations of alt-rock. It’s a musical DeLorean: rooted in mainstream Americana but speeding into adventurous horizons.

It’s admirable to see him balance his signature sound with hints of exploration in collaborations such as ‘Monsters You Made’, all while remaining true to his mother tongue.

There are many marvellous things about Orville Peck’s new six track EP, ‘Show Pony’, which shimmers as brightly as a cowboy’s pair of freshly polished spurs.

Comprising of 14 scorching, razor-sharp vignettes – some scarcely a minute long – this is the sound of a songwriter standing on the top of their mountain, chest puffed-out and giving it the biggun’. Those confrontational moments are spiky and fun.

On her second album, Kiesza has defied the odds and made a solid comeback to the pop world. ‘Crave’ is a very promising – and very fun – hint at even bigger and better things to come.

The result, the 11-track ‘A Celebration Of Endings’, is the band’s most concisely satisfying audio adventure since 2009’s ‘Only Revolutions’.

‘Open Up Your Head’ is an accomplished debut that takes Sea Girls’ brand of indie-rock on countless new adventures, and leaves plenty of doors ajar for further exploration for a genre in dire need of a kick up the backside.