A breathless, breathtaking achievement, Chris is a fascinating, infectious, endlessly suggestive work, an ode to 80s pop bombast that uses those splinters to build and then de-construct countless glimpses of Héloïse Letissier. Somewhere in amongst these myriad of definitions is Christine And The Queens, a shape-shifting pop entity perpetually aiming for something greater.

An endlessly engrossing record.

A Seat At The Table is an expertly-curated, a near-perfect record that serves as a timely, musical manifesto on how to be black and proud.

‘Pink Noise’ is a triumph for both the label and for the super-talented Laura Mvula.

Overall, When I Get Home is a triumph, and is the kind of album you put on to reach your calming, safe place, when you get home at the end of a long day.

Slipknot make an unexpected impact with their newly-discovered tenderness, but it’s those instantly-recognisable throat-shredding roars that really shine.

The record swells and retreats at will as the group flex their musical dexterity.

A potent debut album. Succinct yet packed with stunning detail, it refuses to take the easy way out, and that stubbornness may see Squid outstrip their peers in a head-long race towards a re-engaged future.

‘Sex, Death & The Infinite Void’, Creeper have created something that simultaneously pays homage to the bands that came before, and which is totally cutting-edge in the modern rock landscape.

This latest set sees Clark back in domineering form. There’s not a second wasted on the album’s taut track list, the songwriter managing to balance her teenage inspirations simultaneously, go back to basics, and break new ground all at once.

We’re graced with upbeat music, the antidote for the negativity that surrounds us. They speak out and speak up about the wrongs that surround them, like the patriarchal limitations placed on them ('Man In The Magazine'), but also explore the joy of the everyday ('Hallelujah').

Makaya McCraven breathes new life into not only the album but Scott-Heron’s legacy.

Taylor Swift’s quiet, exquisite album.

[His albums] are normally produced to the hilt, but here Neil Young sounds more vulnerable than he normally does, and this makes the songs more immediate and personal.

To Be Kind is altogether more colourful, an expansive record--fleshier, bloodier and lusciously psychedelic.... Near perfection.

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.

‘Song For Our Daughter’ is a powerful and resounding success, and re-affirms Marling’s position as one of our most important feminist songwriters.

‘Future Nostalgia’ is an empowering, dynamic pop cavort from start to finish. Dua’s compelling vocals, hooks and beats are a force to be reckoned with, daring you not to boogie around your bedroom.

It's a truly incredible album, a special album and a rare album.

An album with novelistic depth, when ‘30’ turns once more for its London-rooted conclusion, Adele seems to reach a new level in her stratospheric career.

It doesn’t disappoint. Unapologetically heavy, with some spell-binding riffs and addictive hooks, ‘Below’ takes us across twelve gritty tunes all reflective of the turbulence of fourteen months spent in isolation.

Although it takes more than a couple of listens for Loud City Song to feel like a cohesive album, the reward once you do is well worth the outlay.

A work of pure, true genius.

It probably won’t satisfy those who still yearn for a return to their ‘90s alt-rock beginnings but it’s a good starting point for newcomers. For the rest of us though, what this all amounts to, in the end, is another fantastic Radiohead album.

But for all its merits, much of the chaos on MASSEDUCTION tends to move rapidly in one ear and out the other, making it a pleasant but somewhat faceless affair.

‘Saint Cloud’ is the refreshed, reformed and matured Waxahatchee – and it’s glorious.

With ‘Sometimes I Might Be Introvert’, the answer seems to be found in widening that scope and ambition in a way we’ve never seen before. The cinematic flourishes are cranked up and Simz is more confessional than ever, pondering what defines her as both Little Simz the artist and Simbi the person. It makes for addictive listening.

If anything, 'Proof' provides context to K-pop’s infiltration into the Western industry and gives reasoning to BTS’ dominance.