While there are moments of brilliance, it’s clear there are too many chefs in the kitchen.

The odd well-intentioned platitude hardly spoils an album of killer choruses on which Ryder’s infectious likeability shines through at all times. Next time he might want to chuck in a few more curveballs, but for now, ‘There’s Nothing But Space, Man!’ sounds like the beginning of what could be a really stellar career.

‘Every Loser’ is a present-day primal punk resurrection from the only musician qualified to make one.

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

Simz’s storytelling is deft and full of range, gliding between generational trauma (‘Broken’) and faith and the grind (‘Who Even Cares’) with ease. The album’s sonic palette, meanwhile, takes on a mellower and less grandiose tone, with Inflo – the producer behind her last two records and the mysterious musical project Sault – and collaborator Cleo Sol bringing a warm, homely base for Simz to nestle in.

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

It’s too early to tell if the record will help the BTS leader achieve his goal of creating something truly timeless but, in this moment, ‘Indigo’ feels like a masterpiece with the potential to be remembered as a classic.

There is a small sense of disappointment that we don’t get to hear Stormzy let loose on the mic more often, but then this record was never going to be a recreation of ‘Heavy Is The Head’ or ‘Gang Signs & Prayer’s proclivity for immediate grime hits. The hard-hitting lyricism is still present, though.

Now well into her stride as a solo artist, with ‘Black Girl Magic’ Dijon has produced another collection of standout, all-inclusive house classics that’ll dominate dancefloors for years to come.

This pared down approach will likely disappoint some fans who hoped to hear final contributions from vocalists Champion, Joba, Merlyn Wood and Dom McLennon. But this is Abstract’s moment to write the final Brockhampton chapter, and it’s heavy on the confessions.

By being pliable, open and more tender, Mering seems to suggest, perhaps we can save ourselves from the doom that this stunning record finds itself gripped within.

It’s a satisfying ride. This smooth and consistent journey through nostalgia and the energy of new ideas means that ‘Profound Mysteries’ parts one and two stand up as latter-day career triumphs for Röyksopp.

Though these are often beautiful and uneasy songs, too many of them feel rudderless.

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.

If ‘Walls’ found Tomlinson still figuring out what this part of his artistic journey should be, ‘Faith In The Future’ feels much more assured. It doesn’t reinvent the wheel of modern guitar music, but is a solid step forward as the musician continues what he’s acknowledged will be “an ever-evolving process”.

Not only does it shine a light on what inspires one of the greatest living American songwriters, it also works to preserve the greats of the past and ensures that the best music and stories continue to survive.

‘Loud Without Noise’ covers a lot of ground – including relationships, mental health, and social inequality – with the songs working on two levels. Minto often addresses an issue on a broader scale, while also tying it to personal experience.

This latest album is his most fully-realised yet. There may be no answers to be found on ‘Worm Food’ but who needs them, when there’s so much raw honesty, understanding and self-empowerment.

Woven from a great many creative ideas, ‘Miss Power’ could have felt messy. But through Constance’s skilful bird’s eye view, it instead twists the key in the pandora’s box of her potential, re-introducing her unique take on the world.

This is delicate dreampop rendered without the usual disorienting layers.

It’s yet more evidence that Drake’s art is suffering under the strain of his obsession with churning out as much music as is physically possible. And while 21 doesn’t have the same problem, both halves of the duo are responsible for an album that had the potential to be a classic, and missed.

For ‘Big Joanie’ to musically expand this thoroughly yet retain the core of their appeal and singular brilliance on ‘Back Home’ feels remarkable, and you get a sense that it’s far from a final form for the band.

Another gem in First Aid Kit’s consistently good arsenal of timeless, harmony-rich roots music.

This record carries some of Phoenix’s most intimate and approachable songs in years.

Gibson’s inclination towards expressing thoughtful and emotional contemplation largely balance out the record’s apparent eagerness to simply rave through the pain.

If there’s one criticism you could level at ‘Crybaby’, it’s that its slow-burning nature lacks the immediacy or clear-focused thrills of ‘Heartthrob’ and 2016’s ‘Love You To Death’, or the clever concept behind ‘Still Jealous’. But once ‘Crybaby’ truly clicks into place, it makes for another solid collection from a band ever-resistant to categorisation.

Sonically, it’s his most polished record yet. London producer kwes delivers a soulful, melancholic sound that helps Carner move from dynamic, multi-syllabic storytelling to a more honest, reflective voice.

This is an album that thrills in furious energy, but maintains a balance between light and shade via a deep understanding of dynamics.