At their height, the tracks on Oxy Music are some of Cameron’s best, and his songwriting is often defter and more thoughtful than ever.

MICHELLE will always be a pop group, but the tension in this slate of songs gives a different air to the other flowery elements in the production. It’s a product of six people developing individually and collectively.

Despite each track standing incredibly strong on its own, it sometimes feels as though Ashworth is taking on more than the album can handle. A more decisive sound and Squeeze could be one of the best albums of the year, however, Ashworth’s indecision pulls the listener from one emotion to the next without ample time for digestion.

As opposed to the rich, twisted dreamscape of Ignorance, Stars is a record of dense and oblique beauty.

Nobody’s Home struggles to grasp the organic feel of Badkid throughout its run time, but tracks like “Youthenasia”, “Riot”, and “Alone Again” make whatever heights are out there for him an eventuality.

Things Are Great is certainly a return to their best form, and it shows signs of the band entering a new golden era with the next one. Just hope it’s not another six years in the making.

Crunchy, ethereal, and odd in its harsh beauty, PAINLESS is a record of contradictions that Yanya spectacularly weaves together. Allowing us to see more of Nilüfer Yanya – as a person, as a musician, as a lyricist – each part is as intriguing and rewarding to dive into as the last.

Donda 2 is a complex of lacklustre ambling beats twinned with sluggish energy, only occasionally piquing (“We Did It”, “Too Easy”, "Pablo"). In fact, rarely does Ye find any stride. [review is for V2.22.22 Miami version]

The Badfinger-leaning “You” and quasi-Britpop of “Passionate Life” typify an era-colliding strain driving at Buzzard Buzzard Buzzard’s work, segueing track by track without feeling forced. Backhand Deals captures this pop revisionism, the band tweaking sounds of yesteryear with enough swaggering individuality in their own right.

Standout tracks on the mixtape include the fan-favourite “Obsessed With You”, using the queen of viral short-songs PinkPantheress’ “Just For Me”, and the more introspective “Cold Shoulder”, but the last two tracks demonstrate just how much potential we are yet to see from Central Cee.

The unstoppable momentum of hypnotic build-ups and genuinely unique, masterfully maintained combination of moodiness and muscular physicality that characterises Feeding The Machine place Binker & Moses far ahead of the combination.

It’s reassuring to hear her in this state of mind after the unrelenting heaviness of Head Above Water. Even if Love Sux isn’t a perfect album, it’s certainly a well-deserved victory lap from someone with little left to prove.

Bad Boy Chiller Crew have taken inspiration from music that was around when times were a bit simpler and having a good time became a whole culture in itself.

Sad Cities has proved that it can hold its own, and even allows the long-time follower to dwell in times past.

Segarra reaches, with stunning empathy, into the lives of people struggling with specific or universal hardships throughout and yet, crucially, these songs would be killer without the stories at the heart of them.

Each half of the album ends with a relatively sudden shift in pace (“Body Suit” and the contrastingly acoustic “Too Much Colour”), and when you’re consistently bopping along to track after track (which does also risk becoming monotonous, I know) it can be a little jarring rather than the breather they intended.

Whilst Small World doesn't quite pack as much of a punch as Metronomy Forever, it’s a sweet and uplifting album.

Author & Punisher’s Krüller is a sonic purge that rages and recoils in equal measure, enhanced by collaboration, but with Shone remaining the master of ceremonies of his distinctive noise.

The album is - as expected - a well-crafted, sonically flawless work. What it lacks in heart (as with all of their albums, there's very little humanity in the sound or the lyrics) it more than makes up for in style and finesse, and it continues the band's run of producing quality records.

The LP steps away from their usual repertoire, offering a softer, more stripped-back approach to their musings, teetering on the edge of almost folk-rock.

For now, what we do have is an incredible record from a band, mid-flight, delivering sweeping abstractions of Gen-Z anxiety that only this group, as a seven-piece led by Isaac Wood, could create.

Apart from a few exceptions, Yeule had yet to offer a multitude of songs as successful as on this opus. The whole of The Glitch Princess is a continuous demonstration, while being rich and varied.

Time Skiffs angles between incidental blasts of digital fuzz and the purely melodic, resurrecting the freeform yet tangible instinct of Animal Collective’s earlier work; ambitiously addictive without appearing self-indulgently so.

Pompeii shows Le Bon happily wandering into the obscure corners of what pop music can become, establishing a well-earned spot as one of today’s most captivating visionaries.

s Adams raises her voice and coats her guitar in discordant fuzz, it hints at potentially thornier and more abrasive (yet still intimately majestic) future directions that could address the one and only possible flaw with Metal Bird, the album’s uniformly first-gear pace.

It seems they're traversing into territory that may feel foreign at times. Still, each project, especially The Runner, has seen them remain true to who they are and the music they make while still managing to add a new dimension and layer of complexity to their story and vision.

Whilst Laurel Hell doesn’t necessarily feel like a new Mitski album, her talent as a songwriter is strong enough to support these new contexts to her storytelling. Her cleverly crafted lyrics captivates listeners without ruining her enigmatic persona.

Motordrome is a multifaceted delight and an early contender for pop album of the year.