‘SPARK’ reinvents Whitney as a contemporary syndicate of classic pop and their third album is an impressive, bold and contagious body of work that is more candid, emotional and contemplative than ever before.

This sophomore LP does a bit of everything, but this time around feels more refined, consistent and polished: exactly what a follow up should be. And on a label roster saturated with enormous amounts of talent, Rina Sawayama is making a pretty good claim to being the ruler.

Sudan Archives is proving that she is an artist who knows no bounds, and projects like this one are what is going to propel her further into acclaim and stardom.

It carries a deeply insidious atmosphere, never revealing what is coming round the corner before exploding into either a flurry of motion or into a whispering, ephemeral moment.

A successfully adventurous debut that bears countless relistens.

The soul tradition turns once more, and this evocative, moving record is leading the way.

Wanting more of something is hardly the worst criticism to be leveled at an album. With this long-awaited release, Santigold has once more shown the world she’s one of the game’s most unique, imaginative, and fun creators. It’s good to have her back.

‘Curtain Call 2’ is at its most engaging when the Detroit figure simply cuts back on the Billboard tie-ins, and reminds us all why he became such a revered rapper in the first place. ... As a project, however, ‘Curtain Call 2’ is weighed down by its flaws. There’s no ignoring the wayward path Eminem has taken over the past two decades, and the tracklisting reflects this.

The beautiful blends of genres and crisp production make ‘As Above, So Below’ an enthralling listen, and has Sampa raising the bar for herself once again.

It gels together so well that it is hard to find fault. Other than the album needs some trimming. A lot of trimming. Which is a shame as there is a fantastic album in there but navigating it can be overwhelming at times.

Pale Blue Eyes have clearly worked their socks off, and to produce something that carries integrity in putting to music the nature of reminiscence, all the while working tirelessly to fund it, is commendable. ‘Souvenirs’ is a visceral release of material that bookends the band’s formative chapter, and ushers in the next.

At times challenging, at others familiar and accessible, it demonstrates that 30 years after their debut album, Stereolab continue to surprise and reward, their unabating influence threading through every recess of left-of-centre modern music. Perhaps Stereolabesque is a fair term after all.

Punchy, peppy, and undeniably positive, ‘Keep On Smiling’ is an exuberant and life-affirming ambitious album that demonstrates that if in doubt, you have to choose happiness.

‘Yungblud’ has some of Harrison’s best tracks to date, but, as a whole, it’s not refined enough to be his magnum opus.

A record of fireworks, but few surprises. The songs kept succinct, punchy, and direct; there’s no house production about-turns, no moments of revelation, just sheer, unadulterated Khaled. It’s like being strapped in to a rollercoaster – at points its exhilarating, at others terrifying, and by the end you’re eager for it to be over.

Overall, the album does a fantastic job of showing us where Lou Reed was in 1965.

While at times lyrics can feel uninspired, and there is far less space-rock at play than previous ventures, there’s no denying that the tracks on offer are sharp and hard-hitting. A very solid release, and proof of why Muse are still held to such high acclaim nine albums on.

Every track demonstrates a beauty in the everyday; in the mundane; in our reality. And combining such observations with the sweeping sounds of orchestral talent and acoustic guitar, the end result, of the combination of these juxtaposing complex and simple elements, is one that feels familiar.

Cheeky, subversive ‘I Saw The Truth Undressing’ seems to sum up this wonderful, enlightening record.

Whilst there are some bright gems for Jacklin fans interested in her ability to be vulnerable and confessional, there seems to be a whole lot of build-up – and not a lot of climax.

An album that is often slight, and occasionally cartoonish. There’s a lingering feeling that not only can UK rap do a lot better, but so can Aitch.

While it does knock out some definite singalongs, sprinkling in some fun hooks and catchy structures, there is something missing beneath the veneer of theatricality. This is an album that hints at complexity, but it is inevitably overshadowed by Urie’s one-man-show.

HOLY FVCK serves as brilliant proof of Lovato’s hard rock capabilities. Lovato suits hard rock, those vocals absolutely gorgeous when paired with a sturdy burst of heavy soundscapes. While Lovato can knock out a summer-ready banger, it’s equally as thrilling to see them lurking in the shadows.

A bold, contained statement nonetheless, doubling down on her niche style with a few twists and turns brings us some truly great moments to cherish.

Phoebe Green explores and elevates her creative visions with ‘Lucky Me’, with helping hands by some of pop’s most innovative producers; Kaines and Tom A.D as well as lead producer for the album, Dave McCracken.

Alexis Taylor’s vocals are always worth experiencing, blessed as he is with one of his generation’s most striking pop instruments, yet ‘Freakout / Release’ doesn’t tug at the heartstrings in the same fashion as ‘Flutes’, say.

Brighter and airier than a lot of corona art, it might also be also more enduring. It’s a collaboration that invites listeners along for a ride between a now- distant musical past and the present.

‘Cry Sugar’ may take the cake for dance record of the year; that lighting-in-a-bottle moment we’ve all been waiting for.