More than anything, ‘Tigers Blood’ is a refinement of the blueprint laid down by ‘Saint Cloud’, and a showcase of Katie at the peak of her powers.

It’s lusciously written, produced, and arranged.

Punchy, fun and beautifully constructed, ‘Pink Noise’ is the triumphant sound of Laura Mvula finding her feet. A career-defining return that most artists can only dream of; pure synth-pop ecstasy.

A beautiful stream of consciousness, Home is the sound of an artist, donning a cloak of creative freedom. It’s a look that suits her.

Squid always seemed destined to have an epic album in them, and they’ve delivered just that.

These bold theatrics more than work, and maybe more so than ever, they present Creeper with a clear track to bringing camp, dramatic rock back to the very top of the pile.

Succeeds through the sheer brilliance of its songwriting and the trio’s palpable love of their craft. While perfectly capturing the zeitgeist, HAIM carry the passion, creativity and joy to also cement ‘Women In Music Pt. III’ as a timeless classic.

A modern-folk masterpiece which finds her moving from her previous pop bangers into stunningly simple yet sharp melodies, ‘folklore’ will be going down in Swiftie history as one of her most unexpected, and undoubtedly one of her best.

To Be Kind is a unique and wonderful achievement from a unique and wonderful band.

The sheer breadth of sound is astonishing, yet easily pulled together by Lindsey’s distinctive wavering tones and lyrical impact.

An invigorating listen that flirts with the eclecticism of their 1998 album, ‘War Music’ continues to set Refused apart from the pack.

‘Song For Our Daughter’ presents a poignant snapshot of the complexities of femininity - both ones imposed by society and ones engrained in Laura’s past. Some moments are remarkably candid.

By the time closer ‘Boys Will Be Boys’ hits, Dua’s already smashed it out the park, and the euphoric ballad cutting down inequality with her impassioned chorus of “boys will be boys but girls will be women” only further cements what this album has proved: Dua will be going down in pop history as one of the best.

She takes a bold, explorative leap into the centre of her own mind.

The real masterstroke of ‘30’, however, comes with how these lyrics - the pain, the self-flagellation (sometimes cruel, often mocking), the hope, the acceptance - are expertly matched musically.

From the punishing storm that’s whipped up within the introduction of ‘Universal Chokehold’ through to the unflinching frenetics of ‘Set In Stone’, there’s a real sense of confidence that runs throughout the record’s 11 tracks. This is a band at the top of their game.

This is a clever, sophisticated album that still oozes warmth and affection. Superficiality and loneliness have never sounded so tender and dazzling.

Beyond anything, A Moon Shaped Pool feels like the beginning of a new chapter--the first time these five have merged their own idiosyncrasies without compromising or crossing wires.

Along with the equally exceptional St Vincent which came before it, this is the moment that St Vincent enters the fabled realm reserved for the greats.

‘Saint Cloud’ is the rousing of a regenerated spirit that chronicles not just the journey but the revelations of love, life and death that comes with it. A very special album indeed.

If ‘GREY Area’ saw Simz come-of-age as a rapper, ‘Sometimes I Might Be Introvert’ is Simz making her first long-lasting artistic stamp on the zeitgeist.

Raging at full throttle, IDLES’ debut is as dirty as it is messy. An exhilarating escape along frenzied rhythms and powerhouse rhythms with a ferocious commentary for guidance, Brutalism is as vital as it is volatile.

By taking the time to delve back into his rap upbringing, he’s progressed further, gleefully throwing a ton of ideas at the wall and finding that nearly all of them stick.

This is a debut like few others. In fact, the only way we’ll ever get another record like Sometimes I Sit and Think, And Sometimes I Just Sit is if Barnett hits Groundhog Day. It’s beyond bonzer, mate.

In equal parts an unequivocal call to arms and an excitable ode to a wonderful friendship, even in the company it keeps. RTJ3 shines.

Haunting, heartbreaking and life-affirming, Angel Olsen’s songwriting talents soar to great heights in the mostly restrained palette here, offering the much needed space to wrestle with the complexities life has thrown at her.

This record is a set of huge songs that’ll cement their place at the top of rock’s ranks and so much more.

You’ll be hard pressed to find a better document of troubled teenagehood than Vile Child.