Sonically adventurous and genre hopping.

Individual songs don’t matter quite so much as the overriding mood. Compared with the brash appeal of Uptown Funk, I’m not sure you could really describe these as bangers. They are more like Catherine wheels spitting flames into the night before burning out. And all the lovelier for it.

It sounds gimmicky, but far from it: Raw Data Feel is a thought-provoking experiment that aims to reshape the dissociation and damage caused by endless scrolling into fodder for the dance floor.

This is not an album that will make The Strokes new friends, but it might satisfy the faithful. Sometimes it is enough just to sound great.

Hurry Up Tomorrow is certainly a bold way to drop the curtain on a phenomenal career, a luscious pop epic about how awful modern fame really is.

It is lovely stuff, replete with bucolic images of sheepdogs leathering around autumnal hillsides. As Pet Shop Boys enter their heritage years, they are still taking dance music into unexpected places.

Although what follows isn’t all as good as the opener, it’s solid, vertebrae-jolting stuff, often recycling old themes and melodies.

A great deal of care has gone into the record.

Will loyal Snarky Puppy fans be disappointed? Not likely. They’ll be delighted by the band’s continued scale and grandeur; for its music that is as unclassifiable as it is virtuosic.

The pair tracked down musicians who worked on Sixties spaghetti westerns, then added Jack White and Norah Jones as singers, resulting in a delicious album, redolent of easy listening but with all flabbiness removed and replaced by a modern warmth and elegance.

High point Honest Town, gives a slick, new-Millennial pulse to all the retro heartache. But title track Big Music is a wince-inducing reminder of naff, leather-trousered bombast.

She's made her best, most accessible record for years.

It’s only once you can give this album a little time and space that you begin to realise that the low-slung 20/20 Experience is really a rather refreshing and assured kind of a sit-down.

Soft strings and Rapp’s silky vocals prevent it from being too jarringly TikTok-ready (though one imagines her record label will be hoping for just that). Overall, Snow Angel is a confident, accomplished debut.

Though her career has been occasional, momentum from a recent Spex reunion has resulted in this terrific solo record, which channels her kitschy style into a synthy pop sound.

Slipping easily between lush orchestral pop and electronic symphonics redolent of Air, she also keeps a firm hand on the lyrical tiller, occasionally even bearing comparison to the poetic pith of Leonard Cohen.

Wilson unpacks her heart with poetically intimate lyrics about relationship troubles in a blur of downtempo RnB grooves and hip-hop flow, showcasing Wilson’s sensational multi-octave soul singing and masterful instrumental playing, all filtered through atmospheric digital effects that lend her old-fashioned analogue skills a contemporary sheen.

Rather than pivoting to rockstar to play the part, Cyrus is shedding some previous layers of industry artifice to speak to a genre that has always unleashed her voice from any electropop or hip-hop audience-baiting cage. Not only that, the arena of rock enables Cyrus to indulge controversy in provocative stage performances that needn't alert the cultural appropriation police.

It’s infested with the collective naughtiness and layered irony of a B-movie all-nighter.

It is not unappealing, but such portmanteau pop really needs strong guiding principles to add up to more than the sum of its individual parts.

The result is more urgent, less reassuringly structured than your typical Elbow record.

Put simply, the album blends gospel, blues and rock but with some exciting interpretations of interesting old records.

Badass has been criticised for failing to take his retro stylings anywhere new, but he lovingly recreates the Nineties vibe with an appealing low-slung swagger and infuses it all with a thoughtful, pavement-pounding philosophy.

There is nothing particularly daring about the album but it's classy and enjoyable.

Dealing frankly with love, rejection, frustration, self-doubt and self-acceptance, almost every one of the 10 tracks is catchy and distinctive enough to become a hit.

Despite its relentlessly downbeat content, then, Moby’s music is just too satisfying to be depressing.

Even the simplest songs here are studded with magic moments that shift the centre of gravity.

Everything on this flashy, melodramatic album punches its weight. If it had come out in 1985, it would have ruled the world.