A Dream Is All We Know is that rare thing: a perfectly crafted, concise collection of 12 songs that brim over with good-will and optimism.

Lipa’s cooly commanding voice holds the attention on expansive melodies that make the most of her range, flowing between rich low tones, a husky middle and sweet highs. It is precise, luxurious, energetic without ever really breaking a sweat.

At times you might wish for a bit more sonic edge to match some of the biting lyrics, but this is a solid debut from exciting young talent – there’s little evidence of any teething problems here.

Like every previous Pet Shop Boys album, Nonetheless is clever, fun, and at times very touching.

Clark never makes the mistake of letting an instinct for experiment detract from her elegant pop songcraft. All Born Screaming is an art-rock classic for the ages.

While it is less commercially focused, there is no discernible drop of quality on the expanded Anthology, crammed to bursting with beautifully worked songs that add different shades and angles to her essential premise of a woman working out why her love life has left her in such emotional tatters.

This irresistible album is yet more evidence that London’s musical scene might just be the liveliest in the world.

Made up of 11 taut tracks, the highlights come thick and fast.

In terms of emotional insight and sheer singer-songwriter genius, it is not in the league of such heartbreak classics as Bob Dylan's Blood on the Tracks and Joni Mitchell's Blue, but at least it reaches for such heights.

With This Could Be Texas, Leeds-based quartet English Teacher have crafted a record really quite striking in its lyrical and sonic ambition.

Clever, sexy, angry, soulful, witty and fantastically bold, Beyoncé stirs up the western and puts the you know what into country. I think it’s a masterpiece, but don’t expect to hear it at the Grand Ole’ Opry any time soon.

The best thing about Real Power is the way three perfectly balanced musicians concoct a sound of such thrilling dynamism, wit and energy without ever getting in each other’s way.

Another beautiful slice of country-tinged magic that never descends into nostalgia.

Ultimately, this is a brilliant record about clearing out the emotional crap and stripping things back to their essence – the perfect soundtrack to lull us out of our collective wintering and into some mental spring cleaning.

Eternal Sunshine is pop at its sexiest – 13 songs designed to lodge themselves in your head for eternity, whether you like it or not.

You don’t have to be greater than the sum of your parts when the parts are already as great as this.

11 songs of such staggering clarity that I found myself breathing a sigh of relief halfway through that bands like this still exist in Britain.

Coming Home is a hugely impressive reminder of Usher's pop skills, and another testament to the enduring appeal of high class RnB.

It’s a remarkably polished debut.

Wall of Eyes comprises just eight tracks but it’s far from slight. String arrangements by the London Contemporary Orchestra add a lush cinematic quality to the album.

Little Rope is undoubtedly Sleater-Kinney’s most commercial album yet. Crusader, in particular, brings to mind the palatable grunginess of No Doubt, and lead single Say It Like You Mean It – with a video starring Succession’s J Smith-Cameron – echoes WH Auden’s Funeral Blues.

The mix of trap grooves and synth balladry is perfectly of the moment, lacking the boldness of a truly original talent. Yet there is something appealing in the sweet melodies and sour attitude of a singer who sounds like she might actually be starting to enjoy herself.

This ranks with the very best of Gabriel’s work, which means it is very great indeed. Peter Gabriel is a genius. i/o is a masterpiece. That is all ye need know.

PinkPantheress’s pop gift is to make something airily attractive out of elements that could be brain melting, as if singing with the internal voice of a generation numbed by the everything goes-ness of the internet.

Swift’s remake is astonishing in its exactitude, another reminder that she is a star of a different magnitude with a mastery of her own talents and a bold business acumen. .... All of the new songs are satisfyingly deft and clever, replete with sinuous melodies, burbling synths and agitated percussion that correspond with the updated eighties stylings of the original. .... The one new song that really punches its weight with Swift’s original 1989 singles is the razor sharp Is It Over Now?

The new Rolling Stones album is the best thing they have made since their Seventies glory days. Which, it might reasonably be argued, de facto makes it the best rock’n’ roll album of the past four decades at least.

This is an album that underlines the greatness of Dark Side, rather than challenges it.

Sheeran sounds like a supercharged David Gray. Grown-up. Energised. Forget Autumn, this feels like an album of bright new dawns.