It’s surely fair to deduce that the intended ‘reset’ is all about returning pop to its early years’ sense of wonder, both sonically and emotionally. On that level, its nine tracks resoundingly succeed.

The song kick-starts the album's powerful sense of forward motion, of a woman struggling to wrestle free from expectations, relationships and religious convention.

It's a sprawling beast of an album and a remarkable piece of creativety from 68-year-old Russell.

“Wow” seems an appropriate response to this sublime album. ... Sam Lee’s Old Wow is a spine-tingling collection of traditional songs, artfully reinterpreted for contemporary ears and concerns. It is folk music that demands to be heard in the 21st century.

This is their 29th album, a delightfully silly set of eccentric songcraft.

A confident, interesting and accomplished album. But Marten is operating in a crowded field. Weyes Blood, Nina Nastasia, Lana Del Rey and Marling all plough similar furrows.

I am blown away by this album, which will reward a lot of listening.

Wuthering Heights consists of just 12 songs, clocking in under 35 minutes. But songs like Dying for You, Chains of Love and Always Everywhere pack such a punch that their conciseness never feels like a curse.

It sounds modern and old fashioned at the same time, infused with an adolescant self-absorption that is at once depressive, funny and wise beyond its years.

Simultaneously beautiful and befuddling, dazzling and irritating, Utopia has something of Stravinsky or Stockhausen about it. On some level, it may be a work of brilliance, but I suspect it is too far adrift from the rest of pop culture to appeal to anyone but a Björk devotee.

His peculiar mix of antagonism and soul-searching may not be enough to convert non-believers, but this bold, ambitious debut suggests that grime has found its most accomplished ambassador yet.

What a wild and wonderful listening experience this is: bristling with ideas, constantly shooting off at different angles but always replete with earworm melodies, plush with glittering sounds, charged with intelligent and emotional lyrics and underpinned by a syncopated rhythm section that shifts gears effortlessly from tightly coiled to blazingly expansive.

It is no surprise that the sound is full of all the kind of clanking noises and sci-fi effects that have long steered Charli just left of the mainstream. Yet somehow this set of 11 short songs has a directness, immediacy and intimacy that has eluded her before. ... This album showcases the least mannered performances of her career. She makes you feel these songs.

The album never quite catches fire like their live performance but it gets close.

It’s a cracking album, whose influences are delightfully esoteric.

There’s a wonderfully empowering sense of elders handing down sublime idealism and wisdom for our entertainment and enlightenment. Behind dodgy titular spelling, Renascence is top-class.

Delivers what most Sparks fans want from them most – a barrage of the kind of eccentric yet immediately connective synth-pop bangers, which only Chaplin-moustached keyboard maestro Ron Mael, now 79, seems capable of writing, and which Russell, 76, his sky-scraping high notes miraculously uneroded by passing time, delivers with characteristic theatrical gusto.

A fun, enjoyable vessel that spotlights a magnetic talent. The music might not entirely be Panic! at the Disco’s own – but like fellow Vegas bigwig Elvis, that’s clearly no barrier.

Their last album, The Seldom Seen Kid, managed the rare feat of winning the Mercury prize and huge public affection. So how do Elbow follow it? With continued greatness and without fuss.

Does it succeed in his aim? Triumphantly. With bells on. Tinker bells, even.

Like FKA Twigs’s Caprisongs, Beyoncé's Renaissance, and SZA’s SOS, Raye’s My 21st Century Blues deserves to be listened to from start to finish, then again, and again.

Freed from the constrictions of slavish imitation, with production from her new and more experimentally inclined collaborators, Aaron Dessner and Jack Antonoff, these six songs offer an intriguing lens through which to view this more innocent version of the savvy star, imbued with the dreamily nostalgic ambience of an adult remembering her bright-eyed youth.

The album, produced by the celebrated Béla Fleck, has treats galore.

The songs Memphis Women And Chicken, Tuscaloosa, 1962 and Foolish Heart are highly enjoyable, but the highlight is the complex and moving Errol Flynn.

It is clear she has found strength in the discomfort. Reckoning with self-destructive feelings of fear, dissociation and anger, the album is a journey to personal healing, ending with the gentle song Invisible Wounds, which evokes the image of Aurora tending to her wounds, stitching her heart back up.

A triumph of marketing, it’s hard to escape notions that this shiny “new” version of the Anthology series essentially comprises remasters of previously remastered rejects.

In Coping Mechanism, we see the singer becoming bolder and braver as she departs from mystic R&B and soul roots. In just 11 full-throttle tracks, Coping Mechanism gives us a glimpse at the future of rock.

These are great musicians and great songs, assembled for an even better cause.