Ultimately, this album is a timely, much-needed, reminder of the fact that while suffering is inevitable, so is our resilience in the face of hardship.

‘Big Conspiracy’ never fully sits in one place, this ever-evolving puzzle with J Hus at the core. He wears many masks, but it’s often when these slip that ‘Big Conspiracy’ is at its most viral, and revealing.

With this album they’ve perfected their journey of the last decade of connecting with their musical past while pointing a way towards the future.

Compared to the previous self-titled record the features here are in sharp contrast, with less of a hip-hop emphasis. That doesn't mean they're not interesting, though.

Bombay Bicycle Club’s time away has propelled the band to a new plane of compelling sophistication, where musically and thematically they have evolved to create a beautifully profound and stunning soundscape full of promise and self-examination.

Manic is an imperfect collection of tracks - with high peaks of sheer genius along with the low falls - but it still manages to fill eyes with tears, hearts with love and minds with thoughts as it explores the life and times of a 25-year-old in startling, stark detail.

With this project he shows that age is just a number, defying any expectations that have been set by the rap scene.

Although ‘Modus Vivendi’ has oodles of instant appeal, the minute the rule book is thrown out the window, Shake is at the top her game.

More. Again. Forever shows a band who insist on exploring, learning and get closer to the truth about life and human existence, and there is just no way that this can ever, ever, be a bad thing.

Preaching the same elements on 'Different Scales', this EP shows us what is to come on Jenkins' forthcoming album. If 'The Circus' is just a prelude, then old and new fans alike are up for a special treat.

His words are stirring without ever being hyper-specific, and can apply to any trying situation that he or the listener has experienced. There is a connection with him through his delivery, which maintains the modesty and gratitude of a person just genuinely trying to figure his way through life.

By considering themes such as love, social injustice and all round perseverance, it is both mature and engaging. The Big Moon are constantly breathing new life into a genre which sometimes runs stale. For that we should be eternally grateful.

This album is going to seriously divide opinions across the spectrum, from the trvest of metal sugariest of pop stans. But Poppy remains a daring and divisive artist making daring and divisive art, and ‘I Disagree’ is the perfect shot of adrenaline to kick start a new decade with.

She exudes the beauty of an artist comfortable in the idea of taking risks, an asset she’d do well to keep hold of as, from what exists on this record, you feel that a classic is just around the corner.

Each song is different, and the wide-ranging scope is something we haven’t had from a collective since ‘Revenge Of The Dreamers III’ by Dreamville and J.Cole record label last summer.

Jesus Is Born - as a stand-alone album - is pretty neat.

At times the production is marred by brevity and unevenness, which can make ‘BUBBA’ sound more like a mixtape in places. Thankfully, these moments are outnumbered by others where Kaytranada is well and truly back on form.

Heavy is the Head absolutely hits it out of the park. It’s the same winning mix of grime bangers and radio friendly singing as last time, but, crucially, it’s better at making sure they work together on the same project. 16 tracks might seem like a lot, but when almost every one is a classic, it’s so hard to care.

There is a ‘fine line’ between plain pop music and good pop music that’s interesting to listen to. On this album, Harry Styles definitely falls into the latter category.

The concept of ‘Cottilions’ definitely deserves some applause. It’s a big, brave project for anyone to take on, and rather than disappoint or fail, it impresses, and in some places, it shines.

Despite the album’s missteps, Coldplay manage to find themselves pockets of beauty in the midst of the chaos that they themselves have ironically created, to craft something melodically unique that whisks us back to 2008’s watermark 'Viva La Vida' era.

Songs on ‘Reflection’ transcend the boundaries of radio-ready pop music, are a reflection (no pun intended) of the larger shift of pop music to something entirely digital in every sense, a shift that seems to mirror that of the music industry in the past decade.

It takes something to stay true to the original ‘Who-ish’ sound after 50 years in the game, but unlike so many others, this time they’ve managed to do so with impeccable form.

Every single song boasts a glittering chorus and light yet effective production; this is a record built on simple pop tracks that are a pleasure to dig deeper on. 'Girl' is the iceberg of 2019 pop albums; dip under the surface, and you’re awestruck by the depth of it.

Overall, it's a glittering, multi-sensory synth-pop record that compels you to let yourself be transported through cosmic dimensions and the rich, textured under-layers of Beck’s creative psyche.

BODEGA’s mantra is “the best critique is self critique” and it is a message that is well conveyed throughout this album.

For this project Ben Cohen has taken the vocal outtakes and sketches and has crafted wonderfully rich and vibrant music around them. Is it what Leonard would have wanted? We’ll never know, but it doesn’t sound out of place in his rich canon of work, which is the important thing. Long-term fans will revel in another chance to lap up his wisdom and that captivated audiences for almost 50 years.

Konradsen's warm intimacy both strangely familiar but uniquely their own is one which will stay with you in the months and years to come. Welcome to their world.