But, bar the turgid swamp blues of ‘Be Careful What You Wish For’, it’s Noel’s freewheeling solo freedom and return-to-mega-form song-writing that makes this amongst the albums of the year.

Utopia is where art, real life and deep experimentation intersects, and it’s utterly compelling.

The record isn’t weighed down by its ideas--it could just do with a filter, a producer with more sway, or even someone in the process to say: “Actually Jaden, mate--most trees are green.”

The album’s glossy production and lyrical vagueness mean these songs could just as easily be about relationships.

The 12-song album’s first five tracks are passable, if not actually quite enjoyable. Beyond this point, though, only the most hardened Moz fan should dare to venture. ‘The Girl From Tel Aviv Who Wouldn’t Kneel’ is an unbearable cha-cha-cha; ‘Who Will Protect Us From The Police?’ is lumpen electro; and least listenable track ‘Israel’ sees him deliver political polemic via the dubious medium of a piano ballad.

While Reputation packs heavy artillery that was almost entirely absent from ‘1989’, it’s actually a helluva ride.

Yung Lean still lacks quality control. The middle bulk of Stranger can feel like being suspended in ice, experiencing a never-ending comedown.

Phases is a deeply autumnal album, perfectly for listening to while strolling down dimly lit side streets with crisp leaves underfoot.

Occasionally, Smith slips back into blandness. ... But like Adele’s ‘25’, this is an undeniably accomplished album that will, deservedly, shift a helluva lot of copies.

Growing up is hard but Bully make it sound exhilarating.

The 10 tracks disappear in a brisk 28 minutes, as if to say, ‘Chin up, mate, get on with it’. A heartbreak record--done the British way.

Revelations wants to be unlistenable, but it can’t always hide Shamir’s songwriting strengths.

There’s much to be said for playing to your strengths, though, and they’ve honed their contrasting, distinctive sounds with this impressive double release. Krept & Konan have plenty of days and nights ahead of them.

There’s much to be said for playing to your strengths, though, and they’ve honed their contrasting, distinctive sounds with this impressive double release. Krept & Konan have plenty of days and nights ahead of them.

Lyrically, Beach House 3 is a step away from the musician’s satin-sheeted comfort zone, but we may have to wait for ‘Beach House 4’ to see him truly come of age.

Pacific Daydream is all carefree, expertly crafted pop, free of irony and all the better for it. Lock the doors, crack open a cold one, and enjoy an endless summer with Weezer.

At its best, his songwriting is appealingly simple and straightforward: the title track offers an evocative portrait of a relationship that’s breaking down. But at times, Horan’s lyrics let him down a little.

By adding a decent dose of 2017 into her classic sound, Price creates something truly great.

As a collection of songs, however, Colors is by far Beck’s most upbeat and enjoyable record from front to back since the ’90s. Repeated listens will no doubt be rewarded.

Taken whole, it’s a looping, dense, all-encompassing experience where anger and tenderness bang heads throughout. Marshall’s world is grimier than ever.

In Masseduction we already have both Dorian and his portrait: the fox on the album’s cover, all rampant neons, stockinged legs, and taut flesh, and the inner ravaging--material just too good to keep in the attic.

Kelela has crafted a cool and sensual album which feels cohesive without slipping into saminess.

Lahey’s debut is a confessional, confident and important arrival.

For Manson fans this is familiar territory: the same mechanical riffs, same whisper/scream vocals heard on his regular stream of albums. Here, most songs are entertaining rather than groundbreaking. Occasionally they’re neither.

The glammy, foot-stomping country bounce of tracks like ‘Greedy Soul’ make sure this isn’t a hoary dad-rock indulgence, but a totally 2017 rock record with its sights set high.

As America crumbles, Protomartyr have proved that they can be that cereus, blooming in the dark times we inhabit--and continue blossoming into a formidable and vital band.

Who knows which Miley Cyrus will emerge after the rootsy and real Younger Now, but we recommend enjoying Country Miley for as long as she lasts.

A record so bold, brave and jaw-droppingly advanced it should sound out a secret “album of the year” message when played backwards.