This is Kasabian’s second album with Pizzorno on the microphone, so tightly honed that if it had been a young band’s debut, I think we’d be clambering over ourselves proclaiming Kasabian rock’s saviours.

On her second album, This Wasn’t Meant For You Anyway, Lola Young has all of the grit and charisma of a seasoned artist.

The album is full of such deft perspective shifts and twists, on sharply written songs composed mostly with her eldest son Teddy (a fine singer-songwriter in his own right).

The Secret of Us marks her move into a more anthemic sound – one that sounds remarkably Swiftian, ready to be blasted out in larger venues. .... The album also features Close to You, a track Abrams teased seven whole years ago but never released – and it’s the clear highlight, all deliciously retro-synths and introspective lyrics that refrain from taking themselves too seriously.

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.

While there is room for improvement, I Hear You is an impressive debut album, tackling a multitude of genres with remarkable confidence. It’s yet another step in the right direction for Peggy Gou.

Charli has crafted a perfect pop album (with the help of the most in-demand producer in the business, AG Cook). Brat is authentic, sensitive, and you’ll be raring to go out once you’ve finished listening.

Forever is exactly the kind of record you’d expect from Jon Bon Jovi at this stage of his career: reflective, lightweight, a bit tinnier than those glam-metal hits. It’s an album that will remind some why they can’t stand Bon Jovi, and others why they love the band.

Delphi Dancing has a nice meaty electronic bass line and Cocteau Twins-like vocals. Meanwhile the single At Your Feet is a lulling piano waltz. Being covered in puke at 3am would have been much more tolerable had I known about this song five years ago. Elsewhere, though, the songs feel a bit too improvised.

It’s fair to say there is nothing groundbreaking on offer, just another set of beautifully constructed and performed songs of soul and meaning.

Dark Times undoubtedly makes for more challenging listening than Ramona…, but for listeners willing to put in the time and effort, prepare to be rewarded.

Sometimes, Cage the Elephant’s lyrics can veer into a teen angst that jars against their middle-aged image: “I don’t want to play those games, will we ever be the same?”. But when they sound this good, they can just about get away with it.

His voice has never sounded better, but it’s the lyrics that let the album down overall.

Eilish has made something rich, strange, smart, sad and wise enough to stand comparison with that classic [Joni Mitchell's Blue], a heartbreak masterpiece for her generation, and for the ages.

There is a flowing sense of melody and dreamy atmosphere to mid-tempo songs (Actual Daydream, Nowhere to Run, Don’t Stop the Bleeding, Ease Me On) and a fistful of thrillingly raucous rockers (Nothing to Do, Hesitation Generation).

Chinouriri has cited African choral group Ladysmith Black Mambazo as one of her major inspirations – alongside Coldplay, Lily Allen and the indie folk trio Daughter. It’s her range that lends Chinouriri success in this latest release.

A Dream Is All We Know is that rare thing: a perfectly crafted, concise collection of 12 songs that brim over with good-will and optimism.

Lipa’s cooly commanding voice holds the attention on expansive melodies that make the most of her range, flowing between rich low tones, a husky middle and sweet highs. It is precise, luxurious, energetic without ever really breaking a sweat.

At times you might wish for a bit more sonic edge to match some of the biting lyrics, but this is a solid debut from exciting young talent – there’s little evidence of any teething problems here.

Like every previous Pet Shop Boys album, Nonetheless is clever, fun, and at times very touching.

Clark never makes the mistake of letting an instinct for experiment detract from her elegant pop songcraft. All Born Screaming is an art-rock classic for the ages.

Variably groovy and often catchy, Hyperdrama represents a marked improvement in Justice’s output. It’s easy to see why the band have had such a hard time topping Cross, however: Generator, the album’s strongest track, proves they’re still at their best when they stick to the sound that put them on the map 17 years ago.

While it is less commercially focused, there is no discernible drop of quality on the expanded Anthology, crammed to bursting with beautifully worked songs that add different shades and angles to her essential premise of a woman working out why her love life has left her in such emotional tatters.

This irresistible album is yet more evidence that London’s musical scene might just be the liveliest in the world.

Made up of 11 taut tracks, the highlights come thick and fast.

In terms of emotional insight and sheer singer-songwriter genius, it is not in the league of such heartbreak classics as Bob Dylan's Blood on the Tracks and Joni Mitchell's Blue, but at least it reaches for such heights.

With This Could Be Texas, Leeds-based quartet English Teacher have crafted a record really quite striking in its lyrical and sonic ambition.

If you like Knopfler’s flavour, One Deep River will be a treat. Indeed, if you walked into a bar and caught this outfit in action, you’d surely stop and pay attention, nodding along in gentle pleasure at the veteran musicianship and easy-on-the ear ambience. Yet in the context of his own discography, it lacks the imagination, ambition and stratospheric guitar playing that made Dire Straits one of the most popular bands of all time.