Despite a handful of lacklustre moments on the album, ‘Everything Else Has Gone Wrong’ permeates the band’s trademark sound with fresh ideas.

More. Again. Forever strikes a mature balance. It’s escapist in its sound but humane in its approach to the world. It’s experimental but familiar, and tests what the band are capable of while proving to be their more focussed work to date.

It doesn’t sound like the work of a band who might inspire legions of fans (among them, apparently, Kristen Stewart) to get tattooed with their logo, but these world-weary yet radio-friendly ballads imply the band might achieve longevity after all. Three chords and the truth never gets old, and ‘Marigold’ vividly paints the knottiness of adulthood.

After the huge success of his second critically-acclaimed album like ‘Pieces Of A Man’, this small EP steps into the big boots it needs to fill before Mick Jenkins’ next outing. ... Delightfully dainty.

The most interesting moments on ‘Deleter’ arrive when the band embrace ’90s dance in all its euphoric, Technicolor glory. There is still plenty here for fans of the band’s more melancholic, anxiety-ridden electronica, but there’s some much-needed escapism to be derived from getting lost in Holy Fuck’s tripper soundscapes.

The band continue to be radical, but rather than being reactionary, ‘There is No Year’ is precise, thoughtful and powerful.

The collection ebbs and flows steadily, and it’s undeniably sleek in its vintage Americana-style production. Some songs leave the listener gagging for more, as Savior flexes masterful lyrics, effortless style and poise. This is a timeless collection.

They’ve certainly made interesting, bolder leaps than before with this second record. We’re ready to jump in again.

Blips aside, ‘Rare’ is a beautifully confident return from one of pop’s most underrated stars, and a quietly defiant wrestling back of the narrative surrounding her.

I Disagree is her most accomplished record, full of daring theatre and snarling forward motion. While all our favourite rock bands are going pop, Poppy is unapologetically embracing her desire to go heavy. It might be inspired by the bands she grew up listening to, but there’s not a moment on ‘I Disagree’ that feels like a throwback.

Unfortunately, as a musical portrayal of the long-lasting echoes of WWI, its ideas are far more interesting than their execution.

It’s not quite picture perfect, but ‘Seeking Thrills’ is Georgia’s jubilant and insightful document of the life that moves under the disco lights.

‘Jesus Is Born’ serves as a gateway into gospel and a fittingly festive listen for this time of year. Praise be.

It’s full of clever collaborations and interesting vocal performances; Roddy Ricch has placed himself comfortably in his own lane.

Stormzy came out swinging for his second album – it’s big, it’s broad and it is mostly brilliant.

Bad Vibes Forever is better than Skins, the first XXXTentacion album released after the rapper’s death, but all of his posthumous music to date has fallen short. Even if you do hate XXXTentacion, you cannot deny his influence on modern rap. But ‘Bad Vibes Forever’ is a serious case of over-embellishing thin material.

Bubba may be lacking the type of big bangers that thrive in festival sets like ‘99.9%’, but is no worse for it. Instead it’s a dizzying hour that is more interested in enthralling the already-fans that have made it into the club and to give them a helluva night. Job done.

The Free Nationals’ supreme musicianship is unquestionable, but they more often than not seem to require an outside presence leading from the front to really bring it all home.

For the most part, though, Styles’ second album is a total joy. It’s an elegant combination of the ex-boybander’s influences, slick modern pop and his own roguish charm.

On the whole, this is a mixed bag. ‘LP1’ shows a more grown-up side to the former One Direction member, and cherry-picks from pretty much every genre that’s in vogue right now. The problem is that it doesn’t tell us much about Liam Payne.

The record shines during these more upbeat, fun moments. ... The album is less successful when Cabello tries to show the side of romance where you’re falling head over heels, or doubting a relationship.

This mixtape is a step away from his usual sunny LA sound, but 03 Greedo knew what he was doing when he enlisted the help of Kenny Beats. This link up has resulted in an entertaining, yet simple record, the concept expertly executed.

Tinashe flips so aggressively between genres that the record becomes unfocused and sporadic. Of course there’s nothing wrong with Tinashe showing emotional duality, but in transitioning so sharply from R&B to rap to stadium pop to EDM, ‘Songs For You’ makes you feel a little dizzy.

The record is most effective at its most gentle and sparse, his voice given room to breathe. Where the lyrics becomes too grandiose, words clash with the folky style, leading to abrupt jarrs in pace and direction. Yet, as with most of Corgan’s solo projects to date, there are still plenty of moments of beauty here.

After You shows an artist rejuvenated and fired up, and hopefully back on track to stick to a more timely release schedule in the next decade.

Selecting a few old R&B bangers, he’s created some tracks that will be on playlists for years to come. Tory Lanez has modernised cult hits that are, in some cases, nearly two decades old. And despite the use of these classics, the album still feels like his own.

We’ve heard these songs so often it would have taken a Christmas miracle for even a pop legend of Robbie’s stature to make them new. Still, his longtime collaborator and co-producer Guy Chambers has brought a great deal of warmth to this collection.

‘Shlon’ allows Souleyman to lift the curtain into his culture, showing his artistry and why exactly he’s one of the most sought-after producers in the world. To pigeonhole him as a wedding singer is reductive.