It’s a record stuffed with imagination and packed with beauty. It’s also a fitting next step for an artist who’s built her reputation as someone who refuses to keep in step with the rest of the world.

King Krule fans will find their hero to be far more accessible on ‘Man Alive!’. The Krulean gloom is beginning to lift and, with this newfound paternal responsibility and a more optimistic worldview in place, Marshall’s creativity is shining for all the world to see.

‘Always Tomorrow’ boasts a handful of punchy, promising songs but it’s frustratingly unambitious in scope. When the album treads old ground, the ideas are stale. Hopefully a bigger rejuvenation is on the horizon.

Whilst jazz and dance are at the forefront of this album’s heart, you can trace a multitude of other genres under its surface, from grime to rock and funk to pop. It’s an ambitious work full of scope, where Boyd continues to innovate and impress.

‘Changes’ is a knackering listen. Overly reliant on trendy production and profound(ish) romantic proclamations, it’s a disappointing comeback from an artist who has a track record in creating hits.

‘Laughing Gas’ is a lush paean to ‘80s precision pop, all snaking funk basslines, synth claps and reverb-addled drums.

For the most part, the album is sickly sweet and filled with cliché lyrics. ‘Treat Myself’ is a frustrating listen, especially given Trainor’s track record for writing ear-worm pop songs.

‘Born 2 Rap’ isn’t just a library of classic records blended together: it’s a lesson in storytelling, something The Game has never received enough credit for. ... There’s a flawless project somewhere among the album’s 25 tracks, which could certainly do with trimming.

This is a 57-minute flex of every musical muscle in Parker’s body. Crunchy guitars are largely absent, but we’re left with something far more intriguing – a pop record bearing masterful electronic strokes.

These songs feel like the bratty little brothers of the likes of ‘Castaway’ and ‘Blood, Sex And Booze’ from 2000’s ‘Warning’, but with more of a snarl and a need for speed.

The result is a markedly retro-futurist sound, from the OMD-ish ‘Kinda Dark’ to ‘It Just Doesn’t Happen’, the synth line on which sounds suspiciously similar to a new wave rendition of Salt-N-Pepa’s ‘Push It’. At times, the music veers so close to kitsch that it may very well alienate some listeners from the get-go. Bejar’s songwriting remains as deft, cryptic and mosaic as ever though.

Like any conversation we have with ourselves, ‘Mystic Familiar’ is not simple or predictable, but does prove the power of switching off all distractions and taking the time to dig deep into what’s inside. There’s a whole other universe you might be missing.

The music develops, gradually growing in its elegance, until further down the path Yorkston takes over, singing the baleful words of the great Scottish poet Robert Burns. The song finds a path across the globe from one visionary figure to another, the peak of a record that is somewhat visionary itself.

This is some of the most focused, ferocious rapping that Lil Wayne has achieved in ages. Yet this still doesn’t necessarily result in a great album.

We know what we’re getting from here: effervescent pop-punk smashes with a political edge. The lyrics are more personal here than on previous Sløtface albums, as Shea dissects her experiences growing up in Norway with American parents.

The rootsier material is often fantastic, which shows up the goofier stuff even more. Kesha has balanced tender country songs with blinging pop throughout her career, but you may wish for ‘High Road’ to stick to one lane.

Musically ‘Walls’ is a largely conservative album; it’s primarily guitar-led and rarely experiments. ... The album is padded out with a string of forgettable – though not unenjoyable – acoustic whimsies. ... There are the foundations here for a rewarding future.

For the converts there’s enough familiarity and boundary pushing to justify continuing to invest in this band, right as they begin playing their first headline arena shows on their upcoming spring tour. But for the doubters and sceptics still on the fence, this album might prove even more enjoyable and surprising. Only a fool would deny themselves this collection of big pop bangers.

Recounting the happier memories of her relationship often results in the album’s lightest moments: it’s here where synths soar and possibilities seem endless. Elsewhere, Scott employs some of her most evocative lyrics yet.

The effort in attempting to redefine their sound and head back to the ’80s is clear, but it’s sorely undermined by a lack of originality and ideas.

While the intimacy of the songs makes this a challenging listen, there is a humbling bravery here.

Musically, ‘When We Stay Alive’ mirrors the feeling of physical rehabilitation, the sense of claustrophobia unavoidable on the knotty ‘Fold Up’. The second half of the album, though, strips away the fog and the anger, finding blissful moments of clarity and closure that feel like real eureka moments.

The growth and progression here is stunning.

There’s no jolting shock-of-the-new: there’s just reassuringly here, refining what they they do best.

Despite the sense of chaos, there’s a level of sophistication and poise on show throughout. This record showcases Black Lips in a songwriting prime.

He splits the difference on ‘Music To Be Murdered By’, indulging his immature ego (griping at bad reviews, stirring controversy for the sake of it) even as he offers salient social criticism and admits his missteps. He’s ready to pass on hard-earned wisdom before running his mouth like he hasn’t learned his own lessons. And he offers casual fans a hook or two before embarking on another lyrical work-out.

Throughout this record, 070 Shake paints vivid – and often uncomfortable, or jarring – pictures, and it’s all on her own terms.

The musician’s previous concepts have both been compelling in themselves but, by stripping back the stories to their very personal core, Halsey has made a record that is as thrilling as it is vulnerable, and her best effort yet. This is Ashley’s world; it’s really nice to meet her.