Doom Days is a vivid snapshot of humanity and an imaginative, adventurous levelling up from one of Britain’s most influential bands.

He leads the listener on an amazing journey, making use of cosmic, symbolic, mythological and religious images in perfect conjunction with his explorations of blunt everyday reality.

While TIM is unlikely to win any existing EDM-deniers over, its addition to Avicii’s back catalogue will come as great comfort to both the fans and family of the late DJ.

Prince: Originals is at its best when Prince lets loose and embraces his cheekier side. ... Although the camp synths and indulgent guitar solos present on a lot of these tracks are clear by-products of the decade that gave us cone bras, Super Mario and The Goonies, this music also sounds prescient.

Majestic in its scale, but traditional in its subject matter and narratives, Western Stars is a wonderful thing.

More often than not on Future Dust, they find themselves adopting a tame version of what they could produce. Limp and lifeless, Future Dust is an album from a band who can give much, much more.

To say this album is epic would be an understatement; it’s a work of art in the truest sense.

The album shines with crisp production, a dynamic of extremes and Aurora’s unflinchingly confident performance and message.

Crystalline, slick and glistening, this feels like the last piece of a puzzle slotting into place, the tying off of any loose ends. It’s the sound of a band operating firmly, and finally, in their comfort zone.

Sonically restless, Madame X doesn’t imitate current pop trends as much as it mangles them into new shapes. A record that grapples with being “just way too much”, ultimately, it refuses to tone things down.

There’s more to this record than excited confidence and a hunger for adventure, though. It’s not just the spotlight this gang need. It’s connection.

Overall, he has created a musical representation of his upbringing in the Sunshine state, evoking its intricate culture. His mixture of smoother, dreamier beats in opposition with harder-hitting and chest-bouncing ones create an aural journey and explanation as to why he is “real-ass n***a from the 305”.

Like Cyrus, it’s shameless, strange and supremely entertaining.

As a tribute to Antonin Artaud, The Peyote Dance captures the frightening, ambitious and surreal work of an artist who was misunderstood during his life, albeit from a spectator’s perspective.

Although album five lacks the narrative that made ‘Konnichiwa’ so compelling (a victory lap for grime’s commercial renaissance, it also reasserted his DIY credentials), this sounds like a record from a rapper with gallons of creative juice in the tank.

Webster’s evolution from her self-titled record is a delight to witness. The songs are more direct and lyrically she’s become a remarkable observer of the little things that make us tick.

From the get-go, his highly-anticipated debut album delivers exactly what it promises with its stylish, nostalgic artwork: a distinct world filled with hazy strings, warped synths and vocals that range from a flawless ’70s-style falsetto to laid-back speech. It’s retro-inspired through a modern lens.

It’s “pub-punk” for now, but there’s a good chance it’ll take them to much bigger stages sooner rather than later. It’s not big, it’s not clever, but it’s a bloody hoot.

Through this, In Plain Sight has a frustrating tendency to lean on cliché; there’s a nagging feeling of déjà vu in listening to a record that has been made thousands of times before.

There’s groove here. There are innovative experiments in atonality. And there’s a record that says as much about the lives of young people in 2019 as any we’ve heard released so far this year.

Wild Beasts sometimes seemed overly enamoured with ideology, self-aware to a fault, while Thorpe’s solo album is simpler, more direct, more self-contained – and therein lies its power.

As a whole, Let Yourself Be Seen flows more like a meandering DJ set.

New album Flamagra, a spaced-out funk epic that’s much more soothing than its predecessor, proves Ellison has grown as a producer.

Father of Asahd isn’t perfect, and the celebratory baller vibe can get a little tiresome at times. However, this time round, whenever Khaled shouts “Another one!”, his catchphrase, it actually feels merited. DJ Khaled’s true talent lies in bringing people together.

Some tracks are merely forgettable--‘Days Of Decision’, ‘Lenny’s Tune’ and ‘When You Close Your Eyes’--while others charge headfirst into oddball territory.

Whether or not you choose to take his advice with either your first or your 51st listen, IGOR is an accomplished and evergreen record that’s well worth putting your phone down, turning the TV off and devoting your full attention span to.

Guiding you on a whistlestop tour of his life, community and resultant beliefs, the record serves not only as a statement of identity, but also an indication of the sprawling possible paths for his career to grow into.

The result is an often thrilling, semi-symphonic ode to joy that peaks with ‘The Plans We Made’, a lilting trip-hop nursery rhyme on which Chapman sighs through the line “there’s only so much I can do” like a man who’s suffered a thousand defeats and still maintains his optimism.