The record sits firmly within her existing catalogue, but that growing self-assurance brings a new charm to the Baby Kingdom.

With keen ears for melody, turbo-paced beats perspire, and episodic SFX rouses either pure revelry or contemplation. She’s on to a marvellous start.

It may be shrouded in shadow, but Acts of Light is a hopeful record, rooted in intense feeling, nostalgia and desire to connect the past with the present. Woods’ talent for communicating these emotions commands a solemn and sublime respect.

Throughout, there is a compelling sense of commitment and deep love towards the material and the concept from both the stage and the audience – but ultimately the undertaking is perhaps a bit too respectful to make Cat Power Sings Dylan truly come alive.

Abstract philosophizing aside, Sweet Justice remains as immediately gratifying as the rest of her catalogue; its rapping is smoother, its hooks are catchier, and its instrumentals more fine-tuned and studied.

The final 2 minutes of the [last] track feature a stream of guitar-generated distortion dotted with melodic hints that quickly rise and pass. It’s a glorious coda to an impressive return, a reemergence that shows the band at their most versatile, free to be themselves.

He provides a gentle yet absorbing escape from the hypervigilance with which we patrol our own lives. 12 songs that are soft around the edges and wash over the listener in shades of sunset orange and pink, guitars morph and collapse in on themselves like the contents on a lava lamp.

This is rich, idiosyncratic music that’s too wild and strange to copy.

With tongues remaining cemented firmly in cheeks, Venom is a rip-roaring effort from Wargasm and a testament to their prowess as being “not just any metal band”.

Jenny from Thebes, depending on one’s fascination with The Mountain Goats’ 30-odd years of winding lore, may either have the connotation of your dad and his group of friends finally getting around to making that album they always talked about, or, where charity applies, stay just high enough above passability that it can be recommended by fans with the asterisk, ‘one of the better ones.’

Where some vault tracks felt like they muddled the existing story in past rerecordings, the vault tracks on 1989 (Taylor’s Version) give it more colour – a kaleidoscope of stories and feelings that mirror the sounds heard and explored throughout.

This is a stylish, warm-hearted album with a sense of humour, it takes a few risks and seeks to entertain, more often than not it does its job.

It’s by no means perfect, but that’s not what the Rolling Stones are about. These troubadour, raconteurs set the blueprint and this is them laminating it for good measure, refusing to ever let the moss grow fat.

It’s a scintillating sliver of glass to the senses – a defiant, desolate, and darkly beautiful album that commands multiple listens and highlights once more that Forest Swords is and always has been at the top of his game.

Unforgettable, powerful, and easygoing all at once, Ragu’s maximalist debut is a special mark on the landscape from a new pop disruptor.

Hayter fervently straddles a line between proclamation and judgment, venting and preaching, deliverance and elitism. She is, perhaps, lost and saved at the same time, again wielding paradoxes with grace and ferocity.

My Big Day is a powerful offering from Bombay Bicycle Club. Vibrant, joyous, and completely delectable, the band have taken a daring U-turn from their usual breezy, laid-back numbers, and its paid off.

A slab of seventeen tracks, the bands ninth album has managed to pack enough dynamic twists and turns to make it feel like a joy ride rather than a struggling amble. Given the weight that One More Time... holds, it's an impressive feat and one that feels significant no matter which way you look at it.

No matter who it is, we know who Sampha is: a generational talent who has once again delivered a rich, emotional work for us to process. Lahai is phenomenal.

In true Simz fashion, conscious reflections unfold over the producer’s sprawling arrangements. NO THANK YOU makes certain that every gap is filled tastefully: bellowed vocal ad-libs and melodies (“X”); tasteful guitar tinkles (“Who Even Cares”); or sampled vocal interjections (“Heart On Fire” or “Sideways”).

It’s the subtle touches that create an overwhelming sense of unity on Goodnight.

The record isn’t a patch on his very best stuff, but compare Original Pirate Material to the work of the vast majority of artists and they’ll come up short. For every eye rolling moment, there are more than enough to make you glad The Streets are back.

Some tracks feel like throwaways, then there’s the TikTok and radio cuts like “IDGAF” with Yeat and ear-shattering production from BYNX (who has been killing it btw) and “Rich Baby Daddy” that aren’t particularly rap-savvy but benefit from extremely catchy tracks with a large number of producers.

Much like Sloppy Jane’s Madison, this record is an addition to American surrealism that is made to challenge the now complacent temperament of what is acceptably ‘experimental.’

Creeper are so excellent and effective in their various, otherworldly melodramas because they have so much heart. At the core of whatever undead guise they’ve wrapped it in this time, it’s beating strong and steady.

Between analyzing her own recent past with the empathy and allowances of an emotional anthropologist and the lazy precision of the grooves, Woods pairs harmony with righteousness like the inextricable twins they are.

Though bleak on the surface, through Jonny, Pierce finds himself embracing the chaos of life, reclaiming his childhood years in a cathartic and self-soothing project that aptly marks fifteen years of The Drums.

Something To Give Each Other isn’t changing the game or reinventing the musical wheel, but ask yourself: does it need to? It’s exactly what it needs to be, and it's done so incredibly well.