As ‘Red (Taylor’s Version)’ shows, this is an exercise in catharsis. Leafing back through the storybook of our own formative years, we feel it all.

Although both ‘Monument’ and ‘Terrain’ were made in the space of six months, the albums are as different as night and day. If 'Terrain' is the stream of consciousness after three glasses of wine, 'Monument' is the sharp energy welcomed after a detox.

‘Things Take Time, Take Time’ sees her breaching into a new territory while still residing in the safe net of her previous sound, making it an album to introduce her to a new audience and a pleasing one to entertain her already exciting fanbase.

IDLES' fourth record in just as many years is their most ambitious, most introspective, and most powerful to date.

Although 'Elephant In The Room' is not quite as diverse as his 2018 effort 'Pieces Of A Man' or as fresh as his breakout tape 'Wave[s]', there's a lot to love about the album, and it's likely to one that ages gracefully over time.

It won't appeal to those who prefer his party anthems and vibrant disco, but for those who want to see yet another side to this most prolific of musical minds, it's a voyage worth taking.

This album serves up Summer Walker’s best work yet. It’s brutal, yet romantic, it’s fun, yet flirty, it’s everything any listener could be wanting. A rollercoaster of emotions and she’s not even finished yet.

It’s a theatrical 10-piece song cycle that neatly extends their work, while nodding to what came before. At its best – opener and lead single ‘I Still Have Faith In You’ for example – it comes close to reaching the transformative peaks ABBA scaled all those years ago. Yet for a piece of fan service ‘Voyage’ remains confusingly slight.

Art-rap that refuses to be hemmed in, ‘LP!’ excels by tapping in to the rapper’s undoubted verbal virtuosity, while augmenting it with blistering production. Another triumph from one of rap’s true creative visionaries.

For all the album’s deliberate obscurity, there are small certainties and simple candours. She charts the emotional weather contained within four walls (Pale Interiors), the blue sky that sparkles above Kelso. How a lover’s skin can become a causeway, then a canyon.

Even what Jordan already excelled at – her vocal and lyrical expression, as well as her skill with guitar –does not stagnate, resulting in a fantastic example of how a second album should be.

O’Connell colours firmly between the lines. His ideas do not stray beyond the conventions you’d expect for each singer-songwriter outfit he puts on from song to song.

Always Inside Your Head is often a frustrating album, peppered with sparks of genius and disappointing dead-ends. Ultimately, though, it’s another example of an artist constantly – restlessly, you might say – developing.

A charming, timely return.

With ‘The Spiral’ acting as a key moment, a fusion of individual voice and collective endeavour, it’s clear that his journey has only just started.

Unashamedly broad, it can lack detail and punch; yet ‘=’ has something about it that is difficult to shrug off, while being hard to truly relate to.

On the strength of this ballsy behemoth of sound, they're easily holding onto that crown while adding yet another shining jewel. 'Hushed And Grim' is a reminder of what makes the band so beloved while boldly stepping into a new chapter. They've never sounded so good.

‘I Don’t Live Here Anymore’ sees no severe changes from the Grammy award-winning 'A Deeper Understanding,' but does make for a more nimble listen, the track's shorter running time creating a tauter experience.

‘Fast Idol’ sets out what it aims to do. It’s one of those albums that leaves you mulling over the lyrics, itching to find some kind of meaning but feeling ever more distant from finding it with every attempt.

A luscious record bursting with ideas, technical flourishes and unexpected turns - ‘Fun House’ is Duffy’s greatest achievement yet.

A project as mystifying at it is engaging.

Frothy, neon-soaked entertainment, ‘Future Past’ – when it works – is a blast of ridiculous 80s themed fun.

It’s an exercise in catharsis, providing an accurate snapshot into the minds and mentality of the band certainly, but also the general public of the last year and a half.

The whole record feels like a big sigh, a huge outpouring of personal tracks or long running loves that she’s finally able to release right. ... If there’s one criticism 'Blue Banisters' will draw, it’s that it’s the same old same old in its sonics. Playing the same chords and singing in her same tone, this might be one piano ballad too far for less lyrically-inclined listeners.

'Chansons d’Ennui Tip-Top' might be the strongest album Cocker has released since his 2006 debut, but that does the dirty on ‘Beyond the Pale’ and ‘Further Complications’. This is an album made with love. Love for the culture of his adopted home, but mostly a love of music in all its forms and styles.

Impactful and often unexpected, ‘PUNK’ breaks new ground within Young Thug’s identity.

Self-acceptance is a major theme of this bold album and her complicated emotions can be felt by listeners in this stand-out album from Self Esteem.

The 13 smooth jams showcase Joy Crookes not only as a vocalist or candid writer but as the new face of British soul. While many artists chase nostalgia, Crookes offers a different way forward by disregarding the traditional boundaries of classicism.