Though ‘shame’ is no wild departure, its voice feels stronger. Cutting loose clearly suits IDER – this independent follow-up finds them free to pick apart all the complicated facets of shame in a slow-burning, smouldering fashion.

As with everything The Indications do, ‘Private Space’ is incredibly listenable, yet for all their efforts to expand their sound, they still rest often on the formula of old.

He has some bangers, despite being pretty hit or miss. This second stab at musical longevity is exactly what it says on the label: all over the place. But at this point in his musical career, that’s not necessarily a bad thing.

Weighed down by star power, which eclipses Pop Smoke, ‘Faith’ feels more disingenuous than its predecessor.

It’s hard to find a unifying meaning beyond the beautiful noise or any indication, really, of what a band that’s cut‘n’spliced a plethora of sounds and genre has left to say or do. Perhaps a part two will answer.

It would have been a major disappointment had ‘Escapades’ just been a rehash of leftover Justice cuts. Thankfully Augé’s thirst for the strange makes this album an odd but interesting solo proposition, which still makes some room for dancefloor slayers.

It is hard to know whether Bloom wants us to engage with the zen-like revelations that arose from being trapped in the thudding reality of one identical day following another, or whether he is inviting us to switch off our minds, relax and float downstream. The result is an album that has the capacity to do both, but never truly perfects either.

Utilizing beats from prolific producers such as Wheezy and Chi Chi, ‘The Voice of the Heroes’ is technically accomplished but, given Durk and Baby’s sometimes monotonous verses, it’s great only in smaller doses.

Ironically ‘Jordi’s stand out songs are the ones lacking almost entirely in guest star pull – instead, in these moments, they fuse ambitious, wide-screen arena-pop with messier, more complicated subject matter and Adam Levine’s feelings and experiences over the last three years. It’s here that Maroon 5 break free of paint-by-numbers pop, and unearth introspective clarity instead.

This formulaic approach lacks surprise – once you’re a few tracks in, you’ve heard it all. It might not be a total hot Gizz summer, but at least we’ve got a few extra bangers to bask in.

What could’ve been a savvy dissection of seeking out connection during a surreal year instead see them go straight down the line.

The multi-talented musician’s downfall is sometimes that he wraps melodies in so many layers that it barely has a chance to breathe. ... Whatever the flaws in some elements of ‘Changephobia’, Rostam can be proud of creating an album that showcases his talent as a producer and is truly unique.

‘Monthly Friend’ might not be the progression we were quite hoping for, but there are sparks of more refined songwriting and tunes lifted by a bolder voice. An artist who’s so admirably dedicated to their craft is certainly one to keep an eye on.

‘Convocations’ is a mature work, but its length and intricate creation makes it difficult to get under its skin, the record’s wonderful honesty hidden behind layers that you wish could be peeled back.

Overall, ‘Reprise’ is full of dignified reworkings that don’t offer too many surprises.

Adding interesting new textures to his playbook, it’s perhaps helpful to think of ‘The Waves Pt.1’ as a soundtrack to something bigger, the wading out to sea before the full immersive plunge. By the time ‘Part 2’ arrives, Kele will likely have found even more ways to expand his horizons.

Less a cohesive body of work and more a collection of tracks, ‘Exodus’ feels a little unfinished at times, because of a lack of verses from X and the occasional filler record. Nonetheless, it’s a wonderful tribute record loaded with stellar individual moments, and serves as a beautiful reminder of why the world fell in love with DMX in the first place.

Its DOOM quota is surprisingly small. ... But is the record good? Unquestionably. Is it fun? Very.

Non-conforming, ‘The Off-Season’ is a little bit off in places and its steadiness can be one-note, but it’s still a strong piece technically. You might not play this album every day, but it would still be a strong record for J. Cole to end on.

Experimenting with different vocal registers and taking advantage of how harmoniously her voice goes with live instruments, she’s shared a collection that should leave you itching for her next step. If these are loosies, it’s proof of how top-notch her craft is.

While this record is unlikely to bring the band or the cultural touchstones they cover back to the top, it’s a soul-searching move that satisfies their own fandom while showing they’ll never compromise.

The album peaks quite early – perhaps with a few tweaks to the tracklist, the new stars of YSL could have had a little more time to shine.

In music, there are few things more tiresome than an artist obsessed with the idea of authenticity – they usually forget how to have fun. And this is a trap that Rag’N’Bone Man’s second album ‘Life in Misadventure’ falls straight into.

At its best (the crunching ‘Hero’ boasts one of Weezer’s greatest ever choruses), ‘Van Weezer’ marries soft metal and melodic geek culture to stupendous, festival-slaying effect. At its most frustrating (‘All The Good Ones’), it makes otherwise marvellous Cuomo songs sound like boy band rock pastiche. And at its absolute worst (‘1 More Hit’, ‘Blue Dream’ – most of the album’s second half, basically) the tokenistic thunder-chord segments, motorbike noises and Iron Maiden riffs distract from great songs.

When Khaled does make magic happen, it’s plain to see his brilliance – as when he pairs H.E.R. with a dancehall-infused backdrop on ‘We Going Crazy’, utilising the singer’s silken vocals in a way we’ve not really heard before. But, as with all Khaled albums, there are plenty of misses too. The low points here come when you can’t really hear Khaled’s imprint at all.

Although the off-counter flow can get monotonous at times – unfortunately making a number of the tracks on ‘Michigan Boy Boat’ rather skippable – Yachty’s embrace of the Michigan scene here come across as a daring way of reinventing his once-bubbly rap aesthetic.

There’s a playfulness in the way Gojira approach ‘Fortitude’. There are bursts of melody across the album – perfect for a stadium show of their own – and the likes of ‘New Found’ and ‘Born For One Thing’ flirt with crushing industrial breakdowns. There’s even a couple of soaring guitar solos in ‘Hold On’. The whole record feels agile, despite the weight.

‘Mutator’ might well find favour with fans of his distant descendants like Squid, Perfume Genius, Sleaford Mods and Black Midi. A quarter of a century on, this lost rumble from post-punk vaults finds new context, as a lesson in uncompromising art from an old master.