The Painter harks back to the producer’s woozy, worldly chill out beginnings. It even features Orton on two tracks. This is ambient music for grown-ups.

Mascara Streakz may not reinvent the wheel, but it does stand confidently among their greatest hits while making a compelling case for having that fifth shot of tequila.

This is Jacklin’s most personal offering yet and while the pain of mining her soul for such material is clear, through these diary-like confessionals, so too is her catharsis.

Muse are a blockbuster band, and this is another box-office-demolishing spectacular – it would feel like self-denial not to surrender. Honestly, the end of the world has rarely sounded like so much fun.

There are duds, mostly when Aitch is chasing LA acclaim and aping US trap rappers on tracks like Cheque or Fuego. But when he leans into the silky, bumpy ’90s-era smooth-licking RnB that he raised himself on – see Sunshine or R Kid – he’s hard to beat.

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.

The great joy of this late period album is that it doesn’t take itself too seriously. Lifetime Achievement is not so much a last will and testament as a bravura insistence on Wainwright’s intention to carry on living and loving for as long as he can.

Holy Fvck sounds like a genuine attempt to deal with a troubled adulthood and leave the past behind.

For the Wu-Tang purists, twitchy for a return to the raw Only Built 4 Cuban Linx sonics, the music here isn’t exactly going to quench your thirst. But it’s further proof that what the RZA truly savours is stepping outside of his comfort zone, and it's a relief to once again hear a little weirdness in rap.

Unwanted calls to mind a Jacqueline Wilson novel transposed into an LP format, its 12 songs relentlessly circling over ‘difficult emotions’ – awkwardness, rejection, and, yes, it’s okay to express your anger. And these, of course, are well-worn teen-pop topics already.

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.

What Kasabian have lost in aggression they have gained in depth and sensitivity, and the result is a vivid, adventurous album set at the outer limits of rock and techno.

This is highly advanced rap filtered through easily digestible hooks and musical choices. The beat variety on display is exquisite. Almost every shade of Megan Thee Stallion is here.

A hazy collection of groove-driven vocal tracks featuring singers and rappers.

In all it’s a fascinating mix, which should attract new recruits to Kokoroko’s ever-growing legion of fans.

All 4 Nothing ultimately fails to expand his sound.

The album feels longer than its 12 tracks, and frequently verges on overblown. But perhaps that’s the point. Surrender leans so hungrily into its sonic vision of maximal catharsis that the album soon embodies its title – and propels you into doing the same.

To listen to Hold On Baby is to feel like you are really inside someone else’s world, their voice urgently delivering their most intimate feelings in your ear, transmuting them into pop gold.

This is a vast superclub of an album. But for all its inventiveness, its flavours exist within fairly narrow parameters. Still, these songs will be blasted out of cars, at house parties, in hotel rooms and on dance floors for years to come.

Give Or Take presents Giveon as an undeniable talent who isn’t inclined to go deeper than his comfort zone for now; he coasts quite sweetly, between heartache and humblebrag.

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

Riderless Horse is far from an easy listen for obvious reasons. But hearing the 56-year-old Nastasia describe and attempt to understand these stark events is never less than compelling.

Entering Heaven Alive may not be his most ground-breaking album and won’t entirely satisfy those who come for the great White guitar wail. But this master musician really sounds like he’s enjoying himself with results that are pretty heavenly.

An uneven yet entertaining album.

The Other Side of Make Believe scarcely risks driving away disciples. Nor does it cravenly go after fresh converts.

While still manic in its tempo-changing lunacy, Hellfire is more approachable and organised, as the production by sometime Björk engineer Marta Salogni asserts a certain order amid the vari-speed chaos.

Ballads like Ripples and Lovesong barely make a dent, although the bossa nova lilt of The Perfect Pair and pop beat of Tinkerbell Is Overrated fare better. Matty Healy of prominent labelmates The 1975 co-writes a couple of tracks, but his influence overwhelms the album’s delicate palette.

Mabel also retains the tender, thoughtful quality that infused her debut album High Expectations (2019), and this makes for an impressively nuanced flow.