It’s their shortest album to date – just eight tracks, with a little over 30 minutes for a running time – and, as with Mosquito, there’s less emphasis on Zinner’s incendiary solos now, in favour of a smoother, synth led sheen. When it kicks into gear though, they still sound magnificent.

It may be nearly 35 years since The Charlatans signed to Beggars Banquet, but for sheer scope and invention, Tim Burgess knows no bounds.

Not all their ventures are successful, but with a final play on words it’s more Power to Editors’ elbows, for once EBM takes a firm grip on its listener it does not let them go.

At other times these arrangements can feel a little staid, but that doesn’t keep Weather Alive from being an engrossing listen especially as Orton dominates the proceedings so expertly.

Branch’s lyrical savvy and clear communication keep it well clear of the mundane, though you get the recurring impression that she is capable of taking a few more risks.

Lyrically and stylistically our protagonist spreads her wings much further than before, making a statement of intent that confirms Sampa The Great is in this for the long haul. The sky really is the limit on this evidence.

The sheer brevity of the record means that it doesn’t really feel like a ‘proper’ record as such, but it’s still a lovely listen.

It’s simply another good collection of melancholic indie-rock – and sometimes, that comfort in familiarity is just what you need.

It’s imbued with a spirit and attitude that only the very best pop records have. Much like Dua Lipa’s incendiary second album Future Nostalgia it’s the sound of not just a step up but a whole leap to a new exalted level of pop excellence.

A band who, three decades into their career, still sounds as fresh and exciting as they did when they first began.

Expert In A Dying Field is the sound of a band going from strength to strength.

Diablo is a sonically powerful record with a clear sense of identity, and this helps to push past any shortcomings as Gurnsey remains a great producer and one to watch in the alternative electronic milieu.

At times, you do miss Romy providing the balance to Sim’s vocals, but this is, in its own way, as successful an xx side-project as the In Colour album has been. As an antidote to the long wait until the next album by the full band, this is a must listen.

If the sound of Beyoncé‘s similarly sonically adventurous Renaissance whetted your appetite for challenging, demanding soul, then Sudan Archives’ latest could be just what you’re looking for.

This is an astonishing debut album, one to immerse yourself in and live with for weeks, if not months – an intoxicating statement which announces one of Britain’s most exciting new bands.

Not all of the tracks are wholly successful, and on occasion the vocal clarity is hidden from view. Yet that barely matters, for the fierce spirit remains. Spirituals is both old and new at the same time – drawing on the human spirit, but using cutting edge electronics to do it. Playing to Santigold’s strengths through inventive beats and melodies, it is a fine return.

Despite the classic approach of most of the songwriting here there’s no doubt that it’s a step up in quality for Nesbitt and the result is her most assured and confident collection of songs yet.

A fair criticism might be that Let’s Turn It Into Sound is a little formless, reliant on the novelty of whizzing sounds and pomp-filled arrangements, but in the hands of Aurelia Smith these certainly have the capacity to amaze and astound.

An album which could well be one of the best released this year – and, in its pleas for solidarity and acceptance, one of the most important and vital records as well.

Jacklin has an uncanny knack for documenting her generation’s anxieties and issues, and wrapping them up in songs you’ll be humming for weeks. She is quite the talent, and going by Pre Pleasure, she’ll be around for quite some time to come.

Lyrically and (especially) musically, it’s business as usual on Will Of The People. It’s huge, over the top, and ever so slightly ludicrous – and yet, there’s an exhilaration about this band when they click into place.

Flood may not have quite the impact that her debut did, but it ably demonstrates why she’ll be around for many years to come.

Aitch clearly approached this record wanting to prove his staying power, and while he delivers some quality verses (and roughly an EP worth of great music) the fog of compromise hangs that bit too heavily.

Chaotic, energised and thrilling, this is Demi Lovato at her very best.

The fact that Nastasia has documented this period with such honesty, empathy and beauty makes Riderless Horse feel like a small, healing triumph of sorts, a quiet personal victory against overwhelming adversity.

Traumazine is a success in its own right, solidifying her position amongst rap’s big stars of the 2020s.

Despite the often heavy lyrical content, Lucky Me mostly sounds light and fresh – with perhaps only Leach’s self-loathing becoming a bit oppressive towards the end of the record.

This album is a pleasing, mature release, though a little more freakout wouldn’t have gone amiss.