The album is excitingly dynamic as it cycles through its varied but unified vibes – whether that’s the uptempo, dancey ‘Hips’; the spacey, seductive ‘Like Sweetness’; or the moody ballad ‘Trouble’. There’s a maturity to the lyrical content here, which by no means undercuts its playfulness.

‘Headful Of Sugar’ sees the band more confident and more in control. Using those feelings of helplessness as fuel for the fire, this album is full of enough strength, empowerment, resilience and joy.

All of the well-worn Belle and Sebastian hallmarks are present, but what’s truly impassive is how effortless it all sounds this time around.

It may lack the immediacy of 2018’s hookier ‘Remind Me Tomorrow’, but this unyielding record is, at times, a powerful reckoning with the age of uncertainty.

At times, in the past, he has relied on his autotune to compensate for lacklustre lyricism, but Future is a megamind whose pioneering spirit is the very reason trap feels alive today. With ‘I NEVER LIKED YOU’, you’ll happily applaud him for that.

Towards ‘Blue Water Road’’s conclusion, things start to drift a little, ‘Everything’ feeling longer than its three-minute-27-second runtime and the Thundercat and Ambre-starring ‘Wondering/Wandering’ not quite landing as memorably as you’d hope. For the most part, though, this album finds Kehlani in spectacular form – softer, stronger and better than ever.

‘Zeit’ might be a more reflective album than previous Rammstein records, but it’s still an energetic, swaggering beast.

An album both beautiful and challenging.

This project is sure to surprise fans with its unique sensibility, further showcasing how difficult it is to constrict the artist into any specific genre. Chaz borrows multiple elements to create something wholly unique, skating through sounds to create a genre pastiche to suit every taste.

Prochet’s vocals exude a satisfying, calming sense of gliding and her melodies are strangely life-affirming, as if conveying a peace deeper than just the words they deliver.

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.

The glorious quirks and inventiveness of Let’s Eat Grandma’s earlier work might be amiss on ‘Two Ribbons’, but its immediacy will likely win them new fans. This is the stirring sound of reinvigoration in the face of loss.

In every way, ‘Bob Vylan Presents: The Price Of Life’ is a far more eclectic record than anything the duo have released before. Their alt-rock tracks about inequality will speak to a wider audience but the band never soften their edges or pull their punches in a bid for accessibility.

The fight for a better Ireland deserves songs that mirror the depth of the crisis, and in its endlessly captivating glory, ‘Skinty Fia’ rises triumphantly to the task.

Beyond the familiar name drops and signposts, there are flashes of a band in control of their destiny, and willing to try something new.

The result is a densely orchestrated record that is as solid as it is sprawling.

Rather than sounding like a vintage group struggling to find their identity, though, Swedish House Mafia’s debut album sees the trio flexing their musical and emotional muscles across 17 brilliant, fearless and often surprising tracks. The kings of dance music are very much back.

He keeps growing musically, challenging what drill music can be. On ‘Noughty By Nature’, he confirms he’s a genre juggernaut, but in wearing his heart a little more on his sleeve, he’s also evolving right in front of us.

This record shows that Vile isn’t about to abandon the formula that’s served him so well since he left The War On Drugs over a decade ago. It packs that wholesome, easy charm he’s always held, almost as if the songs fell out of his brain while he was strumming away on his back porch.

With its drill influences and eclecticism, this is perhaps the record ‘Donda’ could have been, proving that Fivio has plenty of scope to transcend drill culture.

It can feel – despite the vivacity and thrilling, shack-shaking garage rock beast that this whole album is – that Romero are stuck in a single gear. There’s a sameness to the songs that won’t trouble any listeners who only want to throw their heads around, pogo bounce and get deafened by riffs.

‘Serpentina’ is a welcome reintroduction to the artist and a cathartic ode to doing things your own way.

The result is both brutally honest and joyfully exuberant, as the band get comfortable and cathartic in their own skin – and invite you to do the same.

A collection of gorgeous, sultry songs that contend with the angst of feeling like you’re the only person who is truly awake and alive in an otherwise sleepy world.

What White has done with ‘Fear Of The Dawn’, in fact, is row his experimental tendencies back a little, as if to meet the desires of his audience halfway. Unfortunately, that can make large chunks of the ensuing record a confused and purposeless mess.

With ‘Broken Hearts Club’, Syd has crafted an album that elevates her to new heights – one that positions her as an exceptional, peerless talent.

Yes, ‘Vince Staples’ was a beautifully personal reflection from start to finish, but ‘Ramona Park…’ enriches the listener’s relationship with the rapper.

It’s an album of unabashed growth, as the artist gets in his feelings but never veers into self-pity. The masked cowboy is – paradoxically – baring his soul, unbridled and all the better for it.