For the most part, though, Diamond’s debut album sparkles. Harnessing heartbreak and combining it with wickedly odd production, ‘Reflections’ is a shimmering collection of unconventional pop songs. After all that speculation, Hannah Diamond is human after all.

There are a few early misfires here, but they are rescued by a stunning second half on which Beck’s trademark sound is stripped back and drenched in a glistening synth-filled air that takes him into a daring new era.

Everyday Life regularly steps to the left-field, proving that Coldplay are more adventurous than they’re often given credit for.

I Made A Place is a soft, sumptuous delight. It’s a cult classic, not a bestseller, but we’re pretty sure that Bonnie ‘Prince’ Billy wouldn’t have it any other way.

Thankfully this album doesn’t fall into the trap of posthumous records that feel like they’re shamelessly re-animating a corpse and therefore should have been left on the cutting room floor. Instead, this collection of tender songs finds Cohen at his most calm and reflective.

Krystal manages to be many things at once. It is often devastating, yet also darkly humorous – even in the most depressing circumstances, Maltese is able to recognise the comedy of it all. A step forward and a look back to where he came from, this is one of Britain’s most magical songwriters at his enchanting best.

Dlamini’s taking no chances here and, now that the smoke’s lifted, it’s clear she’s a pop contender with the nous and drive to go as far as she wants.

Although the decision to release what sound like half-finished tracks purposefully left in the draft folder somewhat misguided, the album doesn’t do anything to tarnish his legacy. Instead, there are moments where it shows how capable of an artist Åhr was, a gentle reminder of the stardom Lil Peep could have achieved.

It’s a no-holds-barred trip into Taylor Hawkins’ personal favourites, and a loving homage to some of classic rock’s greatest voices.

Though not quite closure, ‘Lost Wisdom Pt. 2’ is the sound of Mount Eerie reaching clarity.

It’s the social commentary that makes this experimental album feel vital and unifying. Okereke lyrically eviscerates the politicians who’ve caused divisions based on race, wealth, sexuality and gender, but also offers a vision of hope and a desire for England to rebuild.

By its close, FKA twigs is an unstoppable force of nature.

Ne-Yo‘s overly polished vocals not sit well and Preemo’s production sounds uncharacteristically remedial. Sometimes, too, Guru’s absence is a little too noticeable. ... But these hiccups aren’t enough to derail the album’s quest to remind fans why the duo’s name is mentioned amongst the hip-hop greats.

These two rap entrepreneurs have proven that it was worth the wait for another studio album. The years between ‘Revenge Is Sweet’ and their debut ‘Long Way Home’ have been fruitful for the duo, but – for all their dabbling – this is a welcome return to their roots.

The brevity and density of the album, coupled with the unique production, makes it seem like an epilogue to ‘Some Rap Songs’. Earl Sweatshirt has made another project that listeners will scrutinise and dissect repeatedly. It’s further proof that Earl Sweatshirt is a generational talent.

Myths 004 certainly hits the mark for “embracing the chaos” as a “crude holiday scrapbook”, as they promised in a release accompanying the EP. But is it actually an enjoyable listen? Not really.

As with each of his albums to date, Kiwanuka navigates the past and the present, skilfully making sounds and subjects appear both classic and contemporary at once.

Woptober II is much more intimate. ... A lot has changed since it was last open season on Gucci Mane. The optimism and positivity on this album is infectious, even when he’s reminded of the darker times.

At just 11 tracks and 27 minutes long, it’s concise by West’s standards – the days of sprawling masterworks such as ‘My Beautiful Dark Twisted Fantasy’ and ‘The Life Of Pablo’ are perhaps behind him – but there’s density and focus throughout.

A dazzling follow up to ‘Apricot Princess’, Rex Orange County’s third studio album is a total delight.

What’s My Name dares you to continue listening, to see if you can make it through its first song without spontaneously combusting from second-hand embarrassment, a spectral groan of “Grandaaad” escaping from your ashes as they sizzle and singe. ... But perhaps opening with such a heinous song is actually a genius move. In isolation, they might not fare so well but, after that, nothing else sounds as bad.

Maybe this album is a little rough around the edges, and doesn’t quite commit enough to experimentation, but overall it’s an assured debut that suggests a very bright future. If King Princess leans more heavily into gay ballroom culture with the next album, ditching the acoustic guitar for music that’s more urgent and funky, then we might just have another pop great on our hands.

Second album ‘Cry’ sees the band not stray too far from proven formula of slow and sexy sadness, but this time with a little more love thrown in and all held together by a more filmic approach.

Overall, there’s enough rock star swagger here to live vicariously through, and the sense that the Joshua Tree party will ride again for years to come. So crack open that fancy bottle and let your hair down.

Sure, it’s not as relentless as 2015’s ‘The Monsanto Years’ – his concept album about the evils of the monolithic, genetically modifying agriculture business – but his commitment to a better way of doing things seeps through each of the 10 songs here.

Summer Walker paints in subtler shades. This is an album of relatable, mixed emotions, the narrator promiscuous one minute and faithful the next. This is record of complex emotions, treated with a lightness of touch that ensures it’s fun as fuck. We’re far from ‘Over It’.

Not only a fittingly accomplished conclusion to their most adventurous and masterful project to date, ‘Part 2’ is also a thoroughbred belter of a record and utterly complete album in its own right. Add it all up and the ‘Everything Not Lost’ era is testament to all that Foals are capable of – in sound, in scope and in greatness.

War Music is the best album Refused have ever made. It has more in common with the violent swing of a sledgehammer than any punk record we’ve heard this year.