Where previously the comparisons to their Radiohead catalogue could warp expectations, the breadth of the material on offer here suggest that it could, eventually, flip that dynamic right on its head.

It emboldens its listener to feel power in confronting the uncomfortable feelings, and encourages them to absorb every emotion along the journey. It is a shining glimmer of hope in a room full of sorrow, and another string to their ever-growing bow.

We’ve been overdue an election-year statement record from the trio, and ‘Saviors’ gives it a good crack. .... Of course, the record is a good romp too.

Though the romantic elements of ‘Discount De Kooning (Last Man Standing)’ are nice enough, it fails to penetrate in any meaningful way. As the record meanders on, tracks such as ‘The Dreamer’ and ‘Anonymous In Los Feliz’ fail to leave a lasting impression. That’s not to say it doesn’t work. It might not offer anything new, but it doesn’t necessarily need to.

Through her boundless ‘Orquídeas’ albums, Uchis blossoms into a fearless pop ambassador at the forefront of breaking down the divide between music in English and Spanish.

He might not be the steeliest careerist, but the lad from the Wirral has clearly thrown everything at this masterful record.

The result is an excellent follow-up to the breakthrough that was ‘Any Human Friend’. Hackman raises the stakes in her music in a way that feels natural; it is conceptually bigger and more creatively mature, while the songcraft makes this transition feel earned.

This is a dynamic album that is reflective of the muddled world we find ourselves in – delivered with a fortifying sense of honesty from an essential emerging band.

McRae is evidently still wrestling with her ambitions. ‘Think Later’, however, contains enough intrigue to suggest that this is the work of an artist finally honing their identity, dancing and sparkling all the way.

‘Pink Friday 2’ feels like a consolidation and refinement of everything Minaj can do – including dropping pop culture references that no other artist would think of.

It’s not until ‘Kids Are Growing Up’ the album’s 20th and final track, that Howard attempts to reflect on anything but heartbreak and fame. .... It feels like an emotional breakthrough for Howard, but it comes just a little too late.

The collection is more of a mood piece than of noticeable, memorable songs.

Despite the odd unfortunate guest, ‘Rockstar’ is as bursting with life and positivity as the woman who made it.

‘Quarter Life Crisis’ moves between moods that translate to bright, Day Glo colours (‘Kid Genius’) or dark goth accents (‘Die Alone’). But the former can often turn grating.

Ultimately, what makes ‘Heaven Knows’ such a compelling debut is its ability to create British wistfulness. The emotions and sounds are familiar enough to pull you in, and peculiar enough to make you stay.

While not teasing her next chapter, in her quest for more, Maidza has crafted a collection of perfectly constructed songs that encapsulate her karmic truth: that living well is the best revenge.

The 2020s have found their pop king and ‘Golden’ more than secures him the throne.

Much more than a remix album, then, the sheer invention and thirst to push things forward demands that I<3UQTINVU’ must be considered as an entirely separate, and brilliant, full-length Jockstrap album on its own terms.

‘Venom’ is a consistent album that builds on last year’s teaser project ‘EXPLICIT: The MiXXXtape’, but this time with a significantly raw feel.

It all comes together to make ‘Madres’ a true love letter to the varied, invigorating sounds that have shaped Kourtesis.

You can’t help but hear Burton’s confidence growing across the album’s running time, his potential still untapped and with room to grow. In this latest soul revival, there’s no denying that Black Pumas are at the forefront and on the prowl for more.

‘Now That We Don’t Talk’ is the Vault firecracker. Not only does it fizz with ‘80s influence, but Swift’s versatile, honeyed vocals are stellar. .... The sweeping, evocative storytelling of ‘Suburban Legends’, meanwhile, calls back to the evocative detail of Swift’s previous eras, including mentions of mismatched star signs, class reunions and a ’50s gymnasium. ‘1989 (Taylor’s Version)’ feels more symbolic than her previous re-releases.

‘God Games’ serves as a testament to their new era, one that sees them push each other out of their comfort zones and explore new ways to keep adapting their iconic sound, providing a grand and edgy comeback that is as fresh as can be.

Danceable yet thoughtful debut album.

Ignore the flippant title, there’s material on ‘The Rest’ that could have fought hard for space on their debut album.

Their most daring and collaborative record to date. Featuring the likes of Damon Albarn, Holly Humberstone, Jay Som and, er, Chaka Khan, the results are as eclectic as this list would suggest, spanning across indie, pop, hip-hop and even garage.

The issue is, however, that it’s perhaps lacking in variety. Although the rocket-fueled, lightning-paced ‘More Than You Know’ and the gently atmospheric closer ‘Childhood’ do offer changes in pace, there’s only really subtle things differentiating many of these songs from each other. Sometimes, the hooks aren’t as strong as they could be.

While ‘The Darker The Shadow’ is ambitious, packed with witty, insightful commentary on the human experience, its conceptual focus allowing plenty of scope for creative flourishes, it ultimately lacks the incisive punch of his earlier songwriting.