A record that alternates between the playful and the emotive, ‘My Boy’ thrives on the songwriter’s restless creativity, while never truly settling into one sphere.

‘Born Pink’ gifts fans a mixture of commanding hip-hop tracks, satisfying pop tracks and affecting piano ballads.

Though the days of the jangly, innocuous Britpop they were so integral to establishing are gone, Suede haven’t lost their roots – they’ve just re-established them for a new era.

The Mars Volta have hit upon an incredibly surprising new phase in their multi-faceted evolution.

This fascinating collection of spirited hooks, and deeply heartfelt lyricism, cleverly blends high-tech energetic synths, quick wit, and trippy guitars into something you weren’t quite expecting. Arguably, the result is a much bolder record than his last solo debut ‘Twenty Twenty’.

‘SPARK’ reinvents Whitney as a contemporary syndicate of classic pop and their third album is an impressive, bold and contagious body of work that is more candid, emotional and contemplative than ever before.

This sophomore LP does a bit of everything, but this time around feels more refined, consistent and polished: exactly what a follow up should be. And on a label roster saturated with enormous amounts of talent, Rina Sawayama is making a pretty good claim to being the ruler.

Sudan Archives is proving that she is an artist who knows no bounds, and projects like this one are what is going to propel her further into acclaim and stardom.

It carries a deeply insidious atmosphere, never revealing what is coming round the corner before exploding into either a flurry of motion or into a whispering, ephemeral moment.

A successfully adventurous debut that bears countless relistens.

The soul tradition turns once more, and this evocative, moving record is leading the way.

Wanting more of something is hardly the worst criticism to be leveled at an album. With this long-awaited release, Santigold has once more shown the world she’s one of the game’s most unique, imaginative, and fun creators. It’s good to have her back.

‘Curtain Call 2’ is at its most engaging when the Detroit figure simply cuts back on the Billboard tie-ins, and reminds us all why he became such a revered rapper in the first place. ... As a project, however, ‘Curtain Call 2’ is weighed down by its flaws. There’s no ignoring the wayward path Eminem has taken over the past two decades, and the tracklisting reflects this.

The beautiful blends of genres and crisp production make ‘As Above, So Below’ an enthralling listen, and has Sampa raising the bar for herself once again.

It gels together so well that it is hard to find fault. Other than the album needs some trimming. A lot of trimming. Which is a shame as there is a fantastic album in there but navigating it can be overwhelming at times.

Pale Blue Eyes have clearly worked their socks off, and to produce something that carries integrity in putting to music the nature of reminiscence, all the while working tirelessly to fund it, is commendable. ‘Souvenirs’ is a visceral release of material that bookends the band’s formative chapter, and ushers in the next.

At times challenging, at others familiar and accessible, it demonstrates that 30 years after their debut album, Stereolab continue to surprise and reward, their unabating influence threading through every recess of left-of-centre modern music. Perhaps Stereolabesque is a fair term after all.

Punchy, peppy, and undeniably positive, ‘Keep On Smiling’ is an exuberant and life-affirming ambitious album that demonstrates that if in doubt, you have to choose happiness.

‘Yungblud’ has some of Harrison’s best tracks to date, but, as a whole, it’s not refined enough to be his magnum opus.

A record of fireworks, but few surprises. The songs kept succinct, punchy, and direct; there’s no house production about-turns, no moments of revelation, just sheer, unadulterated Khaled. It’s like being strapped in to a rollercoaster – at points its exhilarating, at others terrifying, and by the end you’re eager for it to be over.

Overall, the album does a fantastic job of showing us where Lou Reed was in 1965.

While at times lyrics can feel uninspired, and there is far less space-rock at play than previous ventures, there’s no denying that the tracks on offer are sharp and hard-hitting. A very solid release, and proof of why Muse are still held to such high acclaim nine albums on.

Every track demonstrates a beauty in the everyday; in the mundane; in our reality. And combining such observations with the sweeping sounds of orchestral talent and acoustic guitar, the end result, of the combination of these juxtaposing complex and simple elements, is one that feels familiar.

Cheeky, subversive ‘I Saw The Truth Undressing’ seems to sum up this wonderful, enlightening record.

Whilst there are some bright gems for Jacklin fans interested in her ability to be vulnerable and confessional, there seems to be a whole lot of build-up – and not a lot of climax.

An album that is often slight, and occasionally cartoonish. There’s a lingering feeling that not only can UK rap do a lot better, but so can Aitch.

While it does knock out some definite singalongs, sprinkling in some fun hooks and catchy structures, there is something missing beneath the veneer of theatricality. This is an album that hints at complexity, but it is inevitably overshadowed by Urie’s one-man-show.

HOLY FVCK serves as brilliant proof of Lovato’s hard rock capabilities. Lovato suits hard rock, those vocals absolutely gorgeous when paired with a sturdy burst of heavy soundscapes. While Lovato can knock out a summer-ready banger, it’s equally as thrilling to see them lurking in the shadows.

A bold, contained statement nonetheless, doubling down on her niche style with a few twists and turns brings us some truly great moments to cherish.

Phoebe Green explores and elevates her creative visions with ‘Lucky Me’, with helping hands by some of pop’s most innovative producers; Kaines and Tom A.D as well as lead producer for the album, Dave McCracken.

Alexis Taylor’s vocals are always worth experiencing, blessed as he is with one of his generation’s most striking pop instruments, yet ‘Freakout / Release’ doesn’t tug at the heartstrings in the same fashion as ‘Flutes’, say.

Brighter and airier than a lot of corona art, it might also be also more enduring. It’s a collaboration that invites listeners along for a ride between a now- distant musical past and the present.

‘Cry Sugar’ may take the cake for dance record of the year; that lighting-in-a-bottle moment we’ve all been waiting for.

The record is funky, it might sound good near some waves (the title is also a play on the .wav format for digital music files, which Harris is constantly sending to studios across the world), and the beats generally bounce happily along. It does what it says on the tin.

Unapologetically angsty and beautifully chaotic, Pale Waves have created a safe space for fans with ‘Unwanted’. A place of pride.

‘The Alchemist’s Euphoria’ is arguably one of the most daring, cohesive bodies of work that Kasabian have rendered to date; it demonstrates that when it comes to evolving, all it takes is courage, innovation and a dose of pure alchemy.

An album that never fails to take you off guard with each new song. The end result of that frenetic time in California shows how a change of pace can create magic; this is Sylvan Esso’s best album yet.

‘Cheat Codes’ is Black Thought’s most complete project to date.

By the time the record comes to a close, one thing is clear: ‘Traumazine’ is a deeper excavation of who Megan Jovon Ruth Pete is. While the glossy persona of “That Bitch” Megan Thee Stallion is able to roam free, introspective uncertainties linger beneath the surface. ‘Traumazine’ abounds in empowering affirmations but, beneath it all, this is a release that starts to unpack Megan the human.

At times frustrating, ‘The Last Slimeto’ is never less than entertaining. A bracing, defiant gesture, it finds NBA YoungBoy embracing freedom with both hands.

Lyrically the album does what pop music does and creates a vibe but doesn’t necessarily encite any thought or, challenge the listener and the rest of the album from this point feels quite disconnected as we navigate out of the Afro-R&B with a feature from Rema on ‘Compromise’ to Nigerian highlife with lead single ‘Afro Highlife’ and reggae rhythms on ‘Having Fun’.

The interplay between Young and Promise of the Real is great and dare I say, they somehow manage to out ‘Crazy Horse’ the actual Crazy Horse. This is a greatest hits selection worthy of Elliot Roberts’ 50-year friendship with Neil Young.

There are a few points in the album where Lauv begins to take an interesting turn, only to retreat to familiarity.

While ‘PANORAMA’ at times feels repetitive, there’s certainly moments that smoulder with passion, sparkling with Kiyoko’s signature charm.

A final project that is both delicate and explosive. Whether curating the voices of those around him, serving as the production-backbone of a track, or cultivating and polishing his own voice, Lil Silva delivers.

If ‘RENAISSANCE’ doesn’t convince you that a star with nothing to prove continues to produce sprawling bodies of work that are editorially precise, prismatic and rhythmically audacious, nothing will.

Patina is a solid sophomore effort, and perhaps hints at the promise of a greater sonic exploration to come with their future releases.

Packed with personality and innovative sounds, this is an incredibly strong release.

It’s just unfortunate that ‘ISTHISFORREAL?’ is less of a philosophical treatise and more a frustrated misrepresentation of Purdy’s abilities.

This is a cinematic body of work that triumphs in its ability to meld a plethora of electronic styles together with the glue-like emotional intent of sentimental reminiscence, and poignantly reminds the listener to hold dear their loved ones.

From the lyrical outpouring of questions and realisations, to the emotions encapsulated by these instrumental vignettes and thoughtful production, you get the sense that Maggie is at home here in this state of experimentation and consideration.

‘2000’ is a distinctly Joey Bada$$ project, although it doesn’t necessarily tread entirely new conceptual grounds, the spaces it does occupy are well thought out and exceptional for a reason. This album is another brilliant example of why Joey Bada$$ is such a powerhouse in hip-hop.

Delivering what her fans would expect, it seems as though Flo Milli has found her feet and handed over a selection of fun-filled and ultrafeminine tracks before the summer comes to an end.

Uplifting, invigorating ‘The Resurrection Of Rust’ offers a warm boost down memory lane in one way, while the modern times filter gives the record intricacy, and it is one to check out.

Not revelatory, then, but there’s enough on ‘The Theory Of Whatever’ to underline Jamie T’s status as a vital force within British music.

If ‘WASTELAND’ doesn’t quite match the hype then perhaps that’s due to the impact Brent Faiayz has had across his catalogue. An artist who commands cross-genre respect, his particular brand of R&B has been much-imitated, but never truly bettered.

The album tells its own superbly structured story, bathing in synthesis and heavily grounded in the contexts of lockdown, while allowing these very contexts to steer the process beyond angst and towards a utopian catharsis.

‘Hellfire’ is at once goofy and high brow. A volcanic eruption of serious silliness.

It’s not expressly about anything. This is music that performs confidence, that uses confidence as a genre rather than embodying it in any convincing sense.

The execution doesn’t always match the scale of its creator’s ambition but ‘Gemini Rights’ is a time capsule of Lacy’s metier right now, and you get the sense he’s one or two masterstrokes away from a classic that will be distinctly his own.

As a project ‘Jack In The Box’ feels personal. It is refreshing to see J-hope experiment with genres not normally associated with his artistry.

A record packed with solitary voices, the New Yorkers seem to amplify their ability to capture the beauty in melancholy, stripping back the paint of the everyday to reveal the extraordinary underneath.

The beautifully crafted fuzzy rock record has sonic concoctions that could have easily been taken from the best 90s and 2000s teen movies; not only does it serve its purpose of self-acceptance and healing, but it also further solidifies Laus’ place in the industry as a formidable, agenda-setting songwriter.

This album is not for everyone. It’s not an easy listen. At times you think “Why am I listening to this? Is it even any good?” and feel like turning it off and trying something more conventional. However, if you are game enough and persevere with it you will be rewarded, as ‘Aura’ is an absolute delight once you let it under your skin.

‘Girls – The 2nd Mini Album’ demonstrates an advancement of aespa as artists. It has solidified the group’s creative intentions whilst also illustrating their ability at owning other concepts.

‘LOGGERHEAD’ makes for an unmistakably compelling debut, held aloft by the principle that sometimes you have to just scream it out.

While this might not be the most fun album to listen to, Neil Young and Crazy Horse deliver solid performances that elevate it from seven songs of despondency.

Burna is at his best either holding it down for his lineage pushing traditional sounds forward or tracing African influence beyond its shores.

Haines’ singular vocals have always been the band’s not-so-secret weapon, and it’s here [on ‘Enemies Of The Ocean’] where they shine greatest, jumping from hauntingly beautiful to full-on rock goddess mode. However, much of the rest of the album just goes to highlight how it’s a game of two halves. You could literally compile a list of the numbers that are over five minutes as the standouts and ones under as pedestrian.

Viagra Boys stamp a great big watermark over this album as they engrave their aesthetic right down to its core. ‘Cave World’ sees them bounce back with another grandiose LP just a year after their last – true miracle workers.

Pleasingly self-referential, ‘Household Name’ is a joyous selection, a record that melds together its alt-rock influences to locate a distinctive voice, pitting intricate instrumentation against some killer pop hooks. Looks like we may just have found our summer soundtrack.

‘Last Night In The Bittersweet’ transports you from the hard-hitting indie rock chaos to gentle soul; his vocals being just as strong and as captivating as he moves from one end of the spectrum to another.

'Universal Credit' shows great potential, but its drop in momentum in the first half marks it as a project that hasn’t quite lived up to its own standards. Regardless, choice tracks on 'Universal Credit' mark Jeshi as a musician willing to be different and to speak with conviction.

Except for two electronic led numbers that become more of a slog than a celebration, Gwenno has once again married the otherworldly with the primal with supreme effect. Another contemporary Cornish treat.

An unpredictable force who is unafraid to speak the truth, Lupe Fiasco merges the modern with the classic for another powerful project.

Defying categorisation, 'Fire Doesn’t Grow On Trees' feels simultaneously well-situated in Brian Jonestown Massacre’s expansive discography, while continuing their core ethos of subverting the indie scene, always looking in the opposite direction of the mainstream.

They're offering something new with 'MUNA' - evolving, inspiring, and taking us along for the [horse] ride.

'Superache' is a definitive evolution for Gray. A matured turn since his debut 'Kid Krow', 'Superache' continues to exemplify Gray's flair for pop bops, but with ripened introspection.

‘Sometimes, Forever’ takes risks, embodies the freeing, ephemeral nature of life, and the joy of following your inner monologue as you follow hers.

It’s not a perfect album by any means – I’m still torn on ‘Wretched’, whose anthemic chorus seems a little too eager to please, and ‘Cosigns’ is a little too spartan in its production. Nevertheless, it takes a wealth of creativity and guts to make an album as individual as this.

If they’d dared to be a little more vulnerable with their sonic approach, ‘World Below’ could’ve been an immense album. Nonetheless, Baby Strange are back in valiant style.

A puzzle that will take a long time to fully unlock, ‘Honestly, Nevermind’ stands on these immediate listens as Drake’s most daring gesture, a devastating about-turn that will fascinate and frustrate in equal measure.

Overall, ‘Supernova’ is exactly what it says on the tin - a bright burst of energy that will leave you awe-struck.

'Ugly Season' is best digested as a whole concept. It demands focus, and if the listener isn't too careful, they'll miss the nuance found in muttered lyrics and a flicker of synth.

With both these lyrical and sonic accomplishments, Foals have created a fine record with a very solidified sound that will be the soundtrack for the summer.

When Knapp and Pederson get it right, which they mostly do, especially on the first three tracks, it’s a joy to listen to. However, when it doesn’t quite work it can be a bit of a slog. Saying that when it does all come together ‘Fault Lines’ is exceptional and shows that Knapp and Pederson still have plenty to say.

‘If it ain’t broke, don’t fix it’ seems to be the theme running through ‘Mercury’, the first LP from producer James Hinton in six years. And that’s by no means a criticism.

Across its 14 tracks, the record is an honest and striking body of work.

If anything, 'Proof' provides context to K-pop’s infiltration into the Western industry and gives reasoning to BTS’ dominance.

One of the best things about ‘Time Bend And Break The Bower’ is how every song feels new.

'Big Time' is a focused record that contains stunning examples of vulnerability, almost too exposed to watch. Her ability to shed layers artistically and emotionally, over and over, leaves you excited to see where her next destination may be.

Neither one thing or another, the lack of definition on the project results in something quietly rebellious, but curiously unsatisfying.

Whilst ‘Night Gnomes’ embraces a plethora of new sounds and concepts that make it distinct from the aforementioned album, it still maintains an overarching complexity and sonic ambition that listeners of old and new can revel in.

'Cruel Country' is neither ironic, nor frivolous: it’s a sprawling double-album that stands as one of Wilco’s best, an ever-moving meditation on the quest for connection in a country that’s often cruel but always worthy, in Tweedy’s eyes, of forgiveness.

A body of work dotted with pop anthems tied together by poetic, angsty lyricism.

Unfortunately, HAAi’s music here tends to be a bit stiffer, forgoing the benefits of a heady groove in favor of direct impact. If you’re up for it, it might well help you ascend, but it often feels like a forced way to go about it.

C’MON YOU KNOW is the broadest of Liam Gallagher’s three solo albums, and also the deepest. It’s the one in which he learns to bare his soul a little, and accept different influences.

A striking, fantastically original work, this is an album that taps into animalistic emotion.