It makes for a frequently breathtaking companion to ‘Take Me Apart’. In a debut album which was all about breaking down, ‘Raven’ reminds us of what it means to be put back together.

‘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.

The hard-fought ‘My 21st Century Blues’ is unequivocally RAYE from start to finish.

Album two demonstrates Lewis’ growing confidence as a frontman in the spotlight – long may it continue.

An album that’s rich musically, thematically and above all, emotionally. Sam Smith has never sounded better because they’ve never been more themselves.

The New York songwriter could be compared to the likes of Olivia Rodrigo or Phoebe Bridgers for her confessional, piercingly vulnerable indie–pop, but on ‘Honey’ her warmth and candour is singular.

Although Låpsley’s third album is at times understated in its pop-leaning potential, it’s a personal collection that unfolds with each listen, revealing new intricacies – lyrical, instrumental and contextual – while finding beauty and balance in the quieter moments.

Clavish narrates his story against a backdrop of deep subs, eerie synth melodies, and dark ambience that allow his bars to cut through with a real sharpness. If he learns to refine his output a little, there’s no reason Clavish can’t achieve the levels of stardom he’s been tipped to reach.

Much like the sardonic vocals heard in the latest post-punk revival, Ice Spice says plenty in her delivery, relying on the tonality of her voice – levelled, calm – to do much of the heavy lifting. It makes ‘Like…?’, her debut project, such a sharp listen. Her voice remains monotone but that only makes the lines hit harder.

By tying together contrasting sounds and stories into this brilliant collection, Biig Piig embraces the joy of reinvention.

The Murder Capital may have arrived with a shout and a fist but they’re soaring now with nuance, ideas, a whole lot of heart and the first great guitar album of 2023.

It’s sonically brave and lyrically obstinate, a rare delight that stands out from its counterparts.

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.

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.