They’ve delivered a true modern-day classic of the synth-pop genre.

‘More Love Less Ego’ is a masterful collection that sees Wizkid beginning to truly perfect his universal pop sound.

By allowing her songs to breathe, leaving space for contemplation, ‘Inner Song’ is a perfectly-arranged album where each track has a part to play: an emotive-yet-euphoric collection that’s made for late-night reflection, Kelly Lee Owens has made one of the most beautiful records of the year.

‘SOS’ is just that – a phenomenal record that barely puts a foot wrong and raises the bar even higher than she set it before.

‘Bewitched’ enchants in its own beautiful, unique way. Richly detailed orchestral arrangements and her masterful musicality – the multi-hyphenate is an an acclaimed cellist, and studied at the prestigious Berklee College of Music in Boston – support her thoroughly Gen Z ripostes

Cottrill is a master at penning lyrics that make you feel like you’re listening to hushed secrets from a friend, but she also has a knack for crafting melodies and rhythms that make you really feel what she’s going through in any given song.

This is massive leap on from ‘Songs Of Praise’ – ‘Drunk Tank Pink’ is more ambitious and more accomplished than its predecessor, showcasing a band brimming both with ideas and the confidence to pull them off. ... ‘Drunk Tank Pink’ confirms Shame’s status as one of the most exciting bands at the forefront of British music.

These songs offer a more adult and grounded perspective than ones like ‘Lone Star Lake’ and ‘Evil Spawn’; they’re about the person who feels like home rather than the one who gets your blood pumping. It’s a nice counterweight that feels emblematic of ‘Tigers Blood’ — it’s a burning fire, and it’s a warm summer evening at once.

‘Heavy Heavy’ is a passionate, soulful and often mesmerising work that will stick around long past the first listen. Succinct and underpinned by a catchy melodic structure, it continues Young Fathers’ peerless run of singular albums and further cements them as one of the more unique acts to exist today.

Dear Annie is a stunning odyssey through hip-hop, R&B, pop and beyond, one that will lend itself to both wintry nights in and blissed-out parties this summer.

Rosalía isn’t so much carving out her own lane as building her own ultra-modern, super-bendy sonic motorway. It’s one you’ll want to hurtle down again and again.

‘The Car’ is almost overwhelming in terms of its ambition and scope, but provides ample motive to revisit this record over and over again.

Not one song feels out of place or undercooked.

Pusha T has managed to elevate his art to new heights, signalling that the artist is nowhere close to being done. Despite being longer than ‘Daytona’, there is succinct preciseness to ‘It’s Almost Dry’ with Pusha’s lyricism, in particular, never left wanting. Alongside the outstanding production, it makes for an instant hip-hop classic.

Konnichiwa is a landmark in British street music, a record good enough to take on the world without having to compromise one inch in the process.

Having stripped away the narrative cloak that shrouded the highlights of ‘Stillness In Wonderland’, she’s crafted a knockout record--and finally come true on her early promise. This is the best rap record of the year so far.

The various dark and mechanical intermission tracks on the album make for the most experimental peaks and exciting signposts to the future, but nothing compares to ‘Nihilist Blues’, a robotic and apocalyptic blast of Eurodance featuring guest vocals and mad noises from art-pop icon Grimes.

With ‘God Save The Animals’, these genre-resistant idiosyncrasies remain, though a few moments shine through with newfound clarity and vulnerability. Across the diverse and consistently excellent 13-track record, he hops between styles, perspectives and energies with abandon.

A dazzling follow up to ‘Apricot Princess’, Rex Orange County’s third studio album is a total delight.

‘One Foot in Front of the Other’ cements the accolade [Britain's next great pop star] – Griff has got the golden touch right now.

On her fourth solo record, Jenny Lewis skewers all of these tensions with astonishing ease. It’s up there with her greatest work to date.

With ‘King’s Disease III’, the New York rapper has put the seal on a strong album trilogy that proves that, three decades in, he’s still a force to be reckoned with.

‘And Then Life Was Beautiful’ truly is a true celebration of R&B, yet – despite its nostalgic nods – Nao has still created a record that doesn’t sound like anyone else. If you need to do a little soul-searching yourself, this soulful record is a good place to start.

This singular record will remain a stunning collection to be cherished for years to come, and a remarkable high on which to end Wood’s tenure at the front of the band. It’s a future cult classic.

Curry flexes his ability to flow and rhyme meticulously lines that explode your mind, his gruff delivery similar to that of RZA or even Busta Rhymes.

White Lung have somewhat softened their ragged edges and in doing so have created one of the most compelling albums of the year.

Even aside from the tragedy that frames its arrival, though, it stands up as Architects’ very best album. ... Architects have emerged more powerful than ever--building on Tom’s legacy, rather than riding on its coattails. It’s a wonder to behold.

From the rebellious energy that dances across the album to the twelve-minute shape-shifting epic of ‘Angel’ that closes out the record with giddy excitement, Working Men’s Club don’t know how to be boring.