The Earth, Wind & Fire-sampling ‘It’s Sunny’ is too cheesy, and ‘Aye Muthaf***a’ slips in some Rihanna-style dancehall beats, but elsewhere TLC offers a familiar mix of breezy R&B tunes and folky self-acceptance jams.

Aside from hollering his name or catchphrases--“Another one!”, “Bless up!”, “We The Best Music!”--there’s no doubt Khaled’s formidable connections were the driving force behind Grateful. But, even with a dream team like this assembled, Khaled hasn’t located the ‘major key’ to the masterpiece he desired.

This latest effort might represent a small progression, but it’s far from an evolution.

Whatever this is, it’s jaw-dropping.

With a lilting, mountain-spring-clear vocal, Lillie effortlessly brings to mind Dolly Parton, whose sass and strength she channels throughout her solo debut’s 11 tracks. This is old-school country music that digs deep into the past.

It’s a rudely excellent album, introspective without ever being indulgent, OTT in all the right ways, honest and brave, full of brilliant songs with lyrics to chew over for months.

From the outset it makes clear that it features songs that aren’t rooted in any one place or time, but are effortlessly stitched together to create a dynamic mapping of modern urban existence.

Ctrl’s strength is how it doesn’t strive to be one thing over the other. It effortlessly winds between narratives and genres like it’s child’s play. This isn’t a star in the making, it’s a fully-fledged talent who’s practically showing off.

Familiar ground, but consider this the sound of modern masters honing their craft.

Some may be unconvinced by the ambitious leap Fleet Foxes have made on album three, but there’s really no doubting the first-rate intelligence behind this uncompromising and ever-changing piece of work.

Witness isn’t about subtlety, but if you’re going to deliver important messages about female autonomy to a young audience, it’s surely better to shout than whisper.

There are ballsy moments--they just happen to be coated in the trio’s signature icy cool.

Hopeless Fountain Kingdom might be defiantly ambitious, but it’s surprisingly cohesive.

Gone Now proves he should be recognised as more than a writing partner or producer to the stars, but one of the stars himself.

Those vocals are the magic ingredient, saving potentially limp tracks from extinction. But it’s equally impressive to hear how confidently the debut holds itself together, flitting between styles but always shining a spotlight on a legitimate pop sensation. She’s the real deal.

Great album, if not entirely relaxing.

The Amazons will do little to dispel any of the criticisms of the current state of rock, but there’s just enough here to suggest that when the band are at their most electrifying, not much can halt their inevitable rise to the top--despite what the old guard say.

It’s not an issue that this is a pop album. The issue is that it’s weak and is a contrived commercial move.

This is very much a post-Stormzy, post-Skepta, post-Drake-going-roadman album, and an important stepping stone along the path to the UK establishing itself as a bona fide world-beater at beats and rhymes.

After Laughter comes over like the earnest, fist-pumping soundtrack to a long-lost John Hughes coming-of-age film.

Taking inspiration from the best seems to have paid dividends, but it doesn’t half make you wonder what the real Harry Styles sounds like.

The duo use fun to become fearless, combating fear with every ounce of inner strength they can find. Pageant is the sound of a band truly hitting their stride.

He may have started out as the quintessential angry young man, but he’s become a textbook study in growing old gracefully--by doggedly refusing to stay set in his ways, Paul Weller keeps finding new ones to surprise us.

in•ter a•li•a is the opposite of being phoned in.

These songs are the sound of joy, canned and compressed for your aural pleasure.

This Old Dog is mostly a gorgeous, perfectly paced record for lazy days outside. But every so often a moment of madness slips in, and this gives the Canadian an edge over his peers.

So strange, it’s fantastic.

DAMN. is by far his shortest release to date – but the ideas, thoughts and feelings it contains are massive, weighty things, from sexual tension to deep, dark depression.