From the lyrical outpouring of questions and realisations, to the emotions encapsulated by these instrumental vignettes and thoughtful production, you get the sense that Maggie is at home here in this state of experimentation and consideration.

‘2000’ is a distinctly Joey Bada$$ project, although it doesn’t necessarily tread entirely new conceptual grounds, the spaces it does occupy are well thought out and exceptional for a reason. This album is another brilliant example of why Joey Bada$$ is such a powerhouse in hip-hop.

Delivering what her fans would expect, it seems as though Flo Milli has found her feet and handed over a selection of fun-filled and ultrafeminine tracks before the summer comes to an end.

Uplifting, invigorating ‘The Resurrection Of Rust’ offers a warm boost down memory lane in one way, while the modern times filter gives the record intricacy, and it is one to check out.

Not revelatory, then, but there’s enough on ‘The Theory Of Whatever’ to underline Jamie T’s status as a vital force within British music.

If ‘WASTELAND’ doesn’t quite match the hype then perhaps that’s due to the impact Brent Faiayz has had across his catalogue. An artist who commands cross-genre respect, his particular brand of R&B has been much-imitated, but never truly bettered.

The album tells its own superbly structured story, bathing in synthesis and heavily grounded in the contexts of lockdown, while allowing these very contexts to steer the process beyond angst and towards a utopian catharsis.

‘Hellfire’ is at once goofy and high brow. A volcanic eruption of serious silliness.

It’s not expressly about anything. This is music that performs confidence, that uses confidence as a genre rather than embodying it in any convincing sense.

The execution doesn’t always match the scale of its creator’s ambition but ‘Gemini Rights’ is a time capsule of Lacy’s metier right now, and you get the sense he’s one or two masterstrokes away from a classic that will be distinctly his own.

As a project ‘Jack In The Box’ feels personal. It is refreshing to see J-hope experiment with genres not normally associated with his artistry.

A record packed with solitary voices, the New Yorkers seem to amplify their ability to capture the beauty in melancholy, stripping back the paint of the everyday to reveal the extraordinary underneath.

The beautifully crafted fuzzy rock record has sonic concoctions that could have easily been taken from the best 90s and 2000s teen movies; not only does it serve its purpose of self-acceptance and healing, but it also further solidifies Laus’ place in the industry as a formidable, agenda-setting songwriter.

This album is not for everyone. It’s not an easy listen. At times you think “Why am I listening to this? Is it even any good?” and feel like turning it off and trying something more conventional. However, if you are game enough and persevere with it you will be rewarded, as ‘Aura’ is an absolute delight once you let it under your skin.

‘Girls – The 2nd Mini Album’ demonstrates an advancement of aespa as artists. It has solidified the group’s creative intentions whilst also illustrating their ability at owning other concepts.

‘LOGGERHEAD’ makes for an unmistakably compelling debut, held aloft by the principle that sometimes you have to just scream it out.

While this might not be the most fun album to listen to, Neil Young and Crazy Horse deliver solid performances that elevate it from seven songs of despondency.

Burna is at his best either holding it down for his lineage pushing traditional sounds forward or tracing African influence beyond its shores.

Haines’ singular vocals have always been the band’s not-so-secret weapon, and it’s here [on ‘Enemies Of The Ocean’] where they shine greatest, jumping from hauntingly beautiful to full-on rock goddess mode. However, much of the rest of the album just goes to highlight how it’s a game of two halves. You could literally compile a list of the numbers that are over five minutes as the standouts and ones under as pedestrian.

Viagra Boys stamp a great big watermark over this album as they engrave their aesthetic right down to its core. ‘Cave World’ sees them bounce back with another grandiose LP just a year after their last – true miracle workers.

Pleasingly self-referential, ‘Household Name’ is a joyous selection, a record that melds together its alt-rock influences to locate a distinctive voice, pitting intricate instrumentation against some killer pop hooks. Looks like we may just have found our summer soundtrack.

‘Last Night In The Bittersweet’ transports you from the hard-hitting indie rock chaos to gentle soul; his vocals being just as strong and as captivating as he moves from one end of the spectrum to another.

'Universal Credit' shows great potential, but its drop in momentum in the first half marks it as a project that hasn’t quite lived up to its own standards. Regardless, choice tracks on 'Universal Credit' mark Jeshi as a musician willing to be different and to speak with conviction.

Except for two electronic led numbers that become more of a slog than a celebration, Gwenno has once again married the otherworldly with the primal with supreme effect. Another contemporary Cornish treat.

An unpredictable force who is unafraid to speak the truth, Lupe Fiasco merges the modern with the classic for another powerful project.

Defying categorisation, 'Fire Doesn’t Grow On Trees' feels simultaneously well-situated in Brian Jonestown Massacre’s expansive discography, while continuing their core ethos of subverting the indie scene, always looking in the opposite direction of the mainstream.

They're offering something new with 'MUNA' - evolving, inspiring, and taking us along for the [horse] ride.

'Superache' is a definitive evolution for Gray. A matured turn since his debut 'Kid Krow', 'Superache' continues to exemplify Gray's flair for pop bops, but with ripened introspection.