Wise’s third record is a glossy-smooth addition to a stellar discography, oozing with infectious melodies, tempered production and lashes of sex appeal.

In forty minutes, the band not only reminds listeners why they became scene heroes but also why they’re one of the UK’s most thrilling exports. For our money, it’s another home-run of a record.

In terms of consistency, ‘Venus’ doesn’t quite match her previous work. Sure, it’s heaps of fun at times and packed with plenty of euro pop bangers to satisfy the faithful, but this time around, otherworldly, celestial highs compensate for moments when Larsson surrenders to commercial viability during its unfortunately frequent lows.

‘COMING HOME’ competently portrays love as part Afrodisiac, part pulse-racing chase, part languorous and lived-in sensation. ‘COMING HOME’ is also tangential to the live spectacle, and that’s okay.

His third is a fun yet wonderfully composed record that sounds radically different to what he’s produced before. If a little odd at points with a dialling down of immediacy, patience is required to fully appreciate the pay-off.

While it may be hard to place genre-wise, it’s not hard to see its quality and sense of ambition.

While it’d be difficult to proclaim it her finest work, ‘She Reaches Out To She Reaches Out To She’ is certainly Wolfe’s most ambitious and careful-constructed album. Deliciously-dramatic in its nocturnal flair, it cracks open a whole new set of tantalising sonic possibilities for Wolfe’s and her collaborators’ future.

The record holds a conciliatory anger at a civilisation that can’t save itself from itself. And through an exploration of war, bloodspill, loss and confusion Vera Sola has continued to tell her story, and invite us into her arresting world.

This is an album is subtle transition. Broadening the dynamic between light and shadow, rock crunch and synth splendour, Frank Carter & The Rattlesnakes grapple with their sound, oozing confidence at every turn.

It’s a delightful, towering debut that will indeed leave you ecstatic.

While hardly reinventing the wheel with ‘What Do We Do Now,’ J has yet again delivered a set of songs that only an enigma like he could.

Arresting, yet often unexpected, ‘Fairweather Friend’ pilfers from the indie pop lineage, while daring to stamp out a unique identity of its own.

A bold work of evolution, ‘EVERYBODY CAN’T GO’ utilises some fantastic production – notably from Hit-Boy – to piece together a seamless record, one that hauls his sound forwards into a fresh era.

One of Kirby’s key strengths is her lyrics, but even with her voice front and foremost her repeated appeal to “wait, wait, wait, listen” seems like it could be genuine. On the other hand, the fact that a first spin inspires a kind of relaxed inattention just makes ‘Blue Raspberry’ more of a slow burn, one which rewards listeners who come back for more.

‘What an enormous room’ is an amalgamation of its title: an expansive collection of tracks, difficult to define, but somehow remains undeniably TORRES.

Despite having to navigate different kinds of losses to get to this stage, Tucker and Brownstein have emerged stringently triumphant, their bond stronger and more unshakeable than ever.

As a debut, it cements the band as one with a long path ahead of them. As an album, it’s a deeply moving, mesmerizing work with themes that stick with you long after listening.

Future Islands’ fans will find plenty to love with this album, with some of the songs here already instant favourites and others feeling like some of the best, most fully realised of their career thus far.

A record of real depth, ‘Wall Of Eyes’ closes on a sombre note. Distinctive, melodic, and defined, ‘You Know Me’ doesn’t so much pull at the heartstrings as slice right through them, Thom Yorke’s voice dissolving into a mesh of strings. It’s a suitably potent moment to end the record on – poised and suggestive, it becomes a bridge from one phase, to something as yet uncharted.

Had it been trimmed down to ten or eleven tracks, then maybe we’d be talking about one of Green Day’s strongest releases. As it stands, ‘Saviors’ turns out to be a somewhat confident return to form, but one that also fails to build upon the records that inspired it.

‘Electrowavebaby’ is fun but doesn’t seem to add to his sound, while ‘Mr Coola’ feels a little dated. At its best, though, ‘Insano’ can be riveting.

A blockbuster that lives up to the hype, ‘american dream’ is 21 Savage at his most luminescent. In staying true to himself, he’s been able to build something unique – now he’s taking it to the world.

As with the twin EPs that preceded it, however, the glimpses of originality strewn across ‘Lovegaze’ are too often sparse islands in a sea of pleasant but generic etherea.

Whilst it might not be as immediately stunning as the mix of luscious synth pop and alternate universe James Bond themes on that album [Red Moon In Venus], she still shines on this record, code-switching between English and Romance and beat-switching between sultry R&B and sunny Latin party pop.

‘Iechyd Da’ is a forward-moving record rooted in love and loss, marking a significant chapter in the musician and producer’s career.

A gorgeous album, ‘Big Sigh’ is a winter treat for the long January nights.

The human condition and thus society is complex and difficult to navigate but Sprints have not been afraid to express uncertainty and vulnerability. And all the while they have enveloped these themes in the most glorious noise for us all to find comfort and lose ourselves in. Is it possible to have an album of the year contender on only the first week in? Of course it is.

While her debut could in places feel slight, this new record feels lived-in, and true.