Midnights represents Swift at a turning point. I am not sure if it is the sign of a curtain falling on her imperial phase or a new pop dawn.

Lasting a little over 30 minutes, See You In The Stars is almost cocky in its brevity. There’s not an ounce of fat on it, and it’s all the more satisfying for it.

As a package, Angels & Queens Part I is a soothing and soulful antidote to life’s slings and arrows, of which there are many right now.

As you’d expect from one of Britain’s most cerebral and celebrated sonic adventurers, this isn’t the kind of music you can hum in the bath. It’s challenging, other-worldly and thought-provoking.

The result is a 12-track riot of feisty, unapologetically forthright, dance-led pop that embraces femininity of all kinds.

Mildly soulful, rarely unpalatable, the Chili Peppers keep delivering American fast-food for the ears, even as they enter their sixties.

Fifth time around, The 1975 get the equation right: pop first, art later.

On the pulsing, electronic slither of Vendetta X, on which Astbury speaks menacingly of “sucking on a dirty blade”, it’s closer to his work with Unkle than stadium rock. In these moments, and on the glorious, closing title-track, Under The Midnight Sun is brilliant. For much of its second half, however, its magic doesn’t catch quite so well.

On Out of Heart, Flohio deserves credit for bridging the worlds of rap and electronica, but you’re still left wondering: who is the human being behind this aesthetic? If she’s to truly level up artistically, Flohio needs to give us a clearer idea of what the reflection in the mirror looks like.

N.K-Pop will be a treat for Heaton’s fans. But it could probably use a little K-Pop power if he harbours any desire to reach and preach to the unconverted.

In Coping Mechanism, we see the singer becoming bolder and braver as she departs from mystic R&B and soul roots. In just 11 full-throttle tracks, Coping Mechanism gives us a glimpse at the future of rock.

It remains a fairly relentless listen and at least a couple of tracks too long. Yet the album’s tale of survival against the odds has powerful personal relevance beyond its often clumsy social commentary.

It's a gloriously mellow record, the sound of an artist remembering there’s a life beyond her touring schedule and daring to enjoy it.

The album’s inability to communicate with itself – each song an island – does bring some drag to the album’s runtime. Nevertheless, elegiac and anthemic, each song has spark.

While some of the songs slip into genericity, such as the forgettable There’s a First Time For Everything, others are 80s-inspired, synth-led earworms. Smells Like Me stands out as one of the album’s highlights, a masterclass in pop writing with an ultra-memorable hook.

The New Faith is hymnal, rich with chants and layered, organic instrumentation. It is deeply and spiritually moving, vibrant and celebratory. Revelatory, even.

These severely abstract inventions require so much brain power and digital dexterity that Jarrett often groans and growls like a tennis player returning a difficult shot. Fortunately, in amongst them are reflective lyrical numbers which radiate a moving sense of solitude, in which you can sense him relax.

Nike, a skeletal hip-hop number that hears Shygirl compare the joy of a fling to ordering a Big Mac, is one of a few dud moments. Otherwise, Nymph is a distinctive, sensual and striking debut.

Will loyal Snarky Puppy fans be disappointed? Not likely. They’ll be delighted by the band’s continued scale and grandeur; for its music that is as unclassifiable as it is virtuosic.

On The End, So Far, the nihilistic furnace still glows hot, but amongst the fuming metal riffs, Slipknot also fume in a more creative way.

This certainly isn’t an indie-sleaze revivalist album, nor is it an effort to prove their relevance. Cool It Down puts words and music to fears and concerns while shaking you into feelings of some radical hope.

Technically Gibbs is a flawless emcee and it’s great to see more of his melodic range on SSS, something that will deservedly bring in new fans. But for his next album, it would be interesting to see Gibbs explore the roots of his “hustler mentality” even further, and start to subvert some of gangster rap’s more impish clichés.

If I may make up a word of my own, it is utterly bjorkers, and all you can do is dig it.

With soulful vocals, delicate stories and vulnerable lyrics, Moss makes for a delightful listen.

Unfortunately, this time around, the lyrics tend to be too opaque to pack quite the same punch. ... That said, there are plenty of songs sure to please diehard Sports Team fans.

Orton digs so deeply into her own personal spaces and memories that what she finds there is unique. Middle-aged discontent has rarely sounded so lovely.

Nothing you’re hearing here is particularly cutting-edge, but it’s delivered with such ebullience and pomposity that you almost forget that this isn’t the first time you’ve heard an 808 beat.

The 12 tracks that make up Expert in a Dying Field are lean and propulsive, with hooks that get under the skin.