From Janelle Monáe and Robyn to Cardi B and the all-star “Black Panther” soundtrack, here is a roundup of the 10 best LPs that we had on repeat this year.

Janelle Monáe — “Dirty Computer”

Ever since Prince died in May 2016, there has been a cold, sad void in the pop world. When Monáe returned to music — after making Oscar-bait movies such as “Moonlight” and “Hidden Figures” — it was clear that the Purple One’s spirit lives on in her, perhaps more than in any other artist currently on the landscape. Genre-bending and sexually fluid, she made an album that is erotic and empowering, soulful and soul-baring — more than she had ever been behind her sci-fi alter ego Cindi Mayweather.

Robyn — “Honey”

Eight years is an eternity-and-a-half between albums these days, but finally following up her 2010 “Body Talk” opus, the Swedish dance-pop dynamo dropped a killer album that delivered on sticky-sweet melodic hooks (“Missing U,” “Ever Again”) while deepening the club grooves (“Send to Robyn Immediately,” “Beach2k20”) with some dope beatmasters. It was a balancing act that we hadn’t seen anyone pull off this well since Madonna last decade.

Kids See Ghosts — “Kids See Ghosts”

Lost in the midst of the Kanye West circus of 2018 was this Kanye collaboration with Kid Cudi, calling themselves Kids See Ghosts. It was one of the spate of Kanye-produced albums that included releases by Pusha T, Nas, Teyana Taylor and a solo West. With both Kanye and Cudi having admitted to mental health issues in the past, “Kids See Ghosts” unpacks all of their demons and stares them down with music that is both haunting and healing.

Troye Sivan — “Bloom”

This South African-born, Australian-bred artist had already come out in one of his YouTube vlog posts in 2013. But on this follow-up to his critically acclaimed debut album, 2015’s “Blue Neighbourhood,” the 23-year-old singer-songwriter took a big leap by embracing the “sex” in his sexuality on tracks such as the title tune and the euphoric “My My My!” And Sivan also imagines growing old with his partner, after the libido has faded, on the divine ballad “What a Heavenly Way to Die.”

Cardi B — “Invasion of Privacy”

The Bronx MC came into her debut album on such a roll that it probably would have been a success even if it was only half as good as it turned out to be. But it far exceeded my expectations, proving that Cardi had more depth and versatility as a rapper to go along with the strength of her personality. It also surrounded her with some of the best beats and feature appearances — from Migos and Chance the Rapper to “I Like It” sidemen Bad Bunny and J Balvin — that money could buy in 2018.

Florence + the Machine — “High as Hope”

It wasn’t a great year for rock, period. But in the era of Time’s Up, it was fitting that the best album of the genre came from a woman: alterna-goddess Florence Welch, whose celestial soundscapes with the Machine take us to otherworldly places. And the transcendence of her vocals — part Kate Bush, part Aretha Franklin — could restore hope in anyone who’s lost it.

Kacey Musgraves — “Golden Hour”

Although ostensibly a “country” record, Musgraves’ latest is more than just that. Pulling a Taylor Swift on “Golden Hour,” she flexes the genre to her own rules and whims, venturing into pop, folk and even dance. But what shines throughout is the strength of her songwriting and the purity of her voice, which lets you see straight through to her soul.

“Black Panther: The Album”

The movie was a movement, pulling together some of the biggest and brightest talents in black Hollywood. Likewise, the soundtrack — curated and led by Pulitzer Prize-winning rapper Kendrick Lamar — assembled an all-star team of hip-hop and alt-R&B heroes including SZA, Travis Scott and The Weeknd. Also featuring authentic African elements, with South African artists such as Babes Wodumo and Sjava in the mix, it’s a musical Wakanda that stands on its own from the film.

Meshell Ndegeocello — “Ventriloquism”

Covers albums can be a tricky proposition, but Ndegeocello, who has been scoring Ava DuVernay’s OWN series “Queen Sugar” in recent years, pulled this one off splendidly. She came up with a tight, fresh concept — reimagining ’80s R&B jams such as Sade’s “Smooth Operator” and George Clinton’s “Atomic Dog” — and deconstructed them to the point at which you can barely recognize the originals in there.

Arctic Monkeys – “Tranquility Base Hotel & Casino”

No doubt, it isn’t Arctic Monkeys’ best album, but this noirish mood piece is an intriguing addition to a fine catalog, showing a willingness to experiment (less guitar, more piano!) and a commitment to a kooky concept about some kind of space resort. Flawed, yes, but unlike, say, Drake’s sprawling double LP “Scorpion,” it’s a real “album” through and through.