It’s the work of an artist with a sincere appreciation for dance music and the skills to make her own galvanising bangers. Many of these songs will give you a prick of emotion at the back of your eyes – a sure sign that Romy really appreciates the healing power of a packed club floor.

On their 10th album, The Chemical Brothers remain the best in the business.

‘Back To The Water Below’ feels like a return for Royal Blood. Honouring their gut, as Kerr said they did in the studio, has manifested fertile results for their band.

It’s a project where everything has been allowed to evolve and align properly: Clay’s willingness as a songwriter to go to a place where he was once uncertain, and his courage to compose and lead with his most authentic playing yet.

These are the sharper edges that Neil let out on Biffy’s earlier work, but elevated that the pure ultraviolence of Vennart’s songwriting and madcap riffery.

Overall, ‘I Told Them’ is not only more memorable and focused than its expansive predecessor, but it’s his strongest album yet.

If their previous albums sounded like hardcore on steroids and deranged, this is the same for their brand of rock-and-roll. The album’s best moments are when The Armed get brazen with their genre experimentation.

‘WEEDKILLER’ expertly weaves public and personal politics into an impressively captivating narrative for a debut.

The best moments of the album come when the band get candid about their hardest experiences, all the while leaning into the driving, raw rock sound they were known for.

An expansive ode to human ingenuity and the boundless ability of music to foster connection.

Much of ‘Struggler’ may be unsettled but it never feels restless.

Hozier’s vocal abilities are on full display across ‘Unreal Unearth,’ but much like the album’s instrumentals, it’s his understanding of when to give more understated performances, as on gentle ‘I, Carrion (Icarian)’ or to go full-force, like on the end of pared-back ‘Unknown/Nth’, that make the songs triumph.

Having spent 11 years away from the studio, The Hives zapped straight back into the only mode they know: pure pandemonium. It’s about time new generations received this healthy dose of old school Hives, packed with the same intensity, goofiness – and of course, the matching black and white suits.

Despite a sprightly run time of just under 38 minutes, the pair cover vast ground, much of it new, across ‘Alchemy’. However, after several sporadic vibe changes, the album’s overall cohesion feels slightly lost, though perhaps that was the intention due to the personal circumstances in which it was created. Nonetheless, it’s clear that Guy and Howard are enjoying their newfound creative freedom to push beyond what’s expected of them.

A record, feels truly – and brilliantly – emblematic of the sharp, controlled chaos that Paris Texas have honed over a handful of previous EPs.

The shift from trap beats and hip-hop delivery to purer pop suites Malone well, proving that slowing down can be a creative advantage, especially when you’re heading in the right direction.

Across 11 tracks, Jessy Lanza has delivered her strongest album yet: ‘Love Hallucination’ is a record that boldly soars towards synth-pop ecstasy while retaining its experimental desire.

Cosentino announced her solo debut the same day Best Coast announced their “indefinite hiatus”. It was a bold move, but judging by the fruits of ‘Natural Disaster’, it was worth it.

They have a way of transporting you to a precise moment or emotion. It’s why ‘The Ballad of Darren’ is so memorable and touching: you can feel it, everything, in every line sung or note played.

An elongated, yet joyous return from J Hus. Splintering the sonics between drill, dancehall, Afrobeat and hip-hop, he allows himself to explore more musical terrain than ever before, while the rapper channels his lyrical potency, struggles and romantic pursuits into one unified portrait.

The Timothée Chalamet-sampling ‘As If’ sees him defiant and refusing to change. With nods to homophobia and fentanyl addiction, it’s a modern take on bratty emo and the rest of Glaive’s debut album is just as complex.

‘IRL’ reflects a young woman fully becoming herself, not just confidently throwing her hands up but boldly letting her guard down too.

Inspiration comes in a myriad of ways, and the talent must have the time to put these parts together and let them mature; it’s how we’ve ended up with an album as epic and impressive as this.

While the meaning part is sometimes tough to decipher – far more so than her previous work – it’s not the answer here that’s important but the journey. It takes a little time to immerse yourself in Harvey’s world, but once there, you won’t want to leave.

There are blasts of harshness (‘Go Ahead’’s fuzzed-out polemic, or ‘Scapegoat’’s bombastic crescendo) but ‘My Back Was A Bridge…’ is still, by some distance, the most accessible thing she’s ever made. Though much of its palette is drawn from ‘classic’ music of the past, however, the record’s brilliance lies in the way it doesn’t retreat from the present.

In the disarray of anxiety, touring and being thrust into the unrelenting bright light of fame, Chatten found a semblance of balance by channelling acute discomfort into a stirring, spotless debut, and what he excavated from the biting darkness is not only beautiful but promising.

Dean may have not shed all of her growing pains, but ‘Messy’ ultimately does everything a debut should, uniting multiple stories with a clear, radiant voice.

This is a special record by a band who are not-so-quietly raising the bar for the whole British scene.