‘Love Sux’ is more of an antidote to pop progress rather than a nostalgic throwback. It just has all the elements of what made us fall in love with Avril Lavigne in the first place.

Not only is this their biggest album to date, it’s also their best. It builds on their remarkable career, as a duo and solo artists, to date and makes us question what jazz should be doing in 2022. ... It’s brave, accomplished, daring and wonderfully catchy in ways you don’t expect.

A wonderful, absorbing listen by a truly special group.

Though undoubtedly a beautiful set of tracks, Once Twice Melody suffers from its length – almost eighty-five minutes is hefty for a listen in one sitting – and the occasional clashes in instrumentation and vocals, with sequenced drums and synthesisers taking away from the warmth of Legrand’s voice.

A pleasing work of subtle evolution that taps into the group’s core values while teasing out fresh ideas.

'PREY//IV' is not simply music to listen to: it’s an attempt to communicate genuine pain in ways that simply aren’t possible through a written statement posted online. Little surprise, then, that the lyrics go for the jugular on occasion (“You taste like rotten meat”; “Are you picturing my insides outside of me?”). However, they’re at their most effective when their visceral imagery gives way to narratives of coercion and control, as it does on 'FAIR GAME'

With 'B FLAT A,' the group has taken another step towards solidifying their wholly distinctive sound. A tar-black marriage of poetry, politics, and powerful rhythm. With each release growing in confidence, we look forward to seeing what they give us next.

The album is bold, eccentric and proudly rooted in classical South Asian traditions, whilst sounding fresh and accessible at the same time.

What follows isn’t a retreat, however, but more of a re-entrenchment, a record that tackles aging, loss, and reconciliation. It's not without surprises.

Refulgent in tone, gorgeous in execution, the new album lingers on matters of the heart – a full four different songs have ‘love’ in the title. Still, nobody does it better.

They’ve come out the other end with a truly talismanic record that will live long in the memory for any who experience it.

A work of assured yet subtle transition, it re-engages with some of alt-J’s core tenets, while not being afraid to engage emotionally.

Whilst there is a real danger to being overly nostalgic, this album hits a happy medium.

While a fun and energetic record, much of the songwriting falls into the somewhat forgettable. Everyone is bringing their A-game, and they're having a blast while doing so, but nothing entirely sticks to the ribs.

It’s best described as an album for escape- to leave the world behind, and encompass yourself completely in the emotive contemplation it offers.

Ideas are left unexplored, while 2Chainz innate abilities – on his day, one of the best MCs around – is clouded by a willingness to pack the tracklisting with guests. If this truly is his last trap project, then perhaps a change is overdue.

'Few Good Things' picks up steam with 'Still', a reflective collaboration with 6lack and Smino, climaxing four songs later on 'If I Had a Dollar', the most melodically ambitious and emotionally evocative song on the album.

The friction between these two worlds is rife throughout the album, creating moments of explosive hyper pop euphoria (Bites on My Neck) and complete emotional vulnerability and devastation (Friendly Machine).

‘Give Me The Future’ achieves everything a pop album should and stands out as Bastille’s best and most expansive work. The narrative is compelling and successfully paints the picture of a universally relatable topic.

‘Laurel Hell’ is a big album that demands to be known, full of indie-pop wonders and most of her most moving ballads yet.

Le Bon’s finest moments bypass rational analysis in favour of radiant gestures. We should welcome them during these colder days.

Overall, the ensemble sound incredibly close to the freewheeling jams fans are accustomed to; in short, they meet the sky-high potential teased on their first record.

‘Motordrome’ can be hit and miss. ... That being said, there’s a huge amount to recommend here. A clinical, finessed pop record, ‘Motordrome’ utilises its 10 track span to broach a number of fresh ideas.

There are moments where Dior shows his undoubted potential and those moments save this album from being completely mediocre, unfortunately, those moments don’t come anywhere near often enough.

'W' sees Boris fully exploring the lighter side of their sound. ... But the delicate beauty of these moments is magnified when Boris push themselves to the other extreme.

A work of impish maturity, ‘Extreme Witchcraft’ is Eels at their most playful, with the band’s carefree wizardry still delivering thrills, even after all these years. While not ranking with their absolute best work, in terms of breakneck guitar-led songwriting it more than delivers.

Undoubtedly their best record to date, it finds Palace asserting themselves in ways they’ve always suggested were possible.

A helter-skelter ride through extra-dimensional sonics, ‘Wilds’ is an exhilarating return, The Soundcarriers’ lengthy absence simply making their return all the more potent.

The product of producing something so relatable that people find solace where you once only saw pain. Sack off therapy, just stick this on.

It never quite transgresses those influences, yet in terms of sheer charm and bravura it places Olly right up there with his idols.

If you are looking for ‘all the feels’ on a cold winter’s morning, ‘Change The Show’ will warm the cockles of your heart and make you yearn for the carefree and hazy festival days of summer.

A fascinating record, ‘Archive Material’ is another impressive step forward for Silverbacks.

These monumental tunes are totally bewitching from start to finish with heartfelt moments and deep intent packed into every second.

A solid addition to his discography and undoubtedly more unforgettable than his debut.

Perhaps it’s their captivating storytelling taking a psychological turn, or maybe it’s the way they’ve incorporated cutting edge electronica, pop and R&B elements into the melodic energies of classic new wave, alt-rock and indietronica, but, ‘Fix Yourself, Not The World’ is a record that will appeal. It is arguably their best work yet.

Whilst it’s nice to hear a change of pace for twigs (and to, on occasion, genuinely hear her laugh), there’s not as much focus on experimentation and expression, which could disappoint some exacting fans.

A fantastic release, ‘SICK!’ pushes Earl Sweatshirt into a new chapter of his work, while adding further context to what has come before. The production work is impeccable, its dizzying imaginative flurry the perfect hinge against Earl’s lyrical precision. Short but emphatically creative, it presents an entire universe to explore, with its finer details laying in wait for repeated listens.

‘Covers’ feels refreshing and invigorated.

With a solid foundation of beats, introspective lyricism and a sharp pen at his disposal, Nas might be the only rapper to have two releases in the best albums of the 2021 conversation. Magic.

A work of subtle evolution, it’s a record that rewards repeated listens, with patience allowing these fresh elements to rise to the surface on an album that underlines Bonobo’s role as one of UK electronic music’s most consistent, and pervasive voices.

It’s certainly frustrating at first, especially if you’re expecting another dubstep masterpiece. But it grows on you given openness and attention – the kind of attention that Burial has earned through years of consistent brilliance. Love it or hate it, ‘Antidawn’ is one of the most unique releases you’re likely to hear in 2022.

Whilst it lacks the character and vivacity of its predecessor, ‘Dawn FM’ develops the latest reinvention of the Weeknd with its dramatic instrumentation and refreshed view of the world.

‘Now or Whenever’ is more of a grow-er than a show-er but has much to show for itself.

An attempt to sidestep presumptions and carve out new space, ‘Transparency’ could be the most unexpected move of Twin Atlantic’s career.

The outer edges of this album are impressive, but why couldn’t they penetrate the main parts of these songs and this album more? Instead, they are eye-opening but ultimately useless ideas that must make way for the dry 808 beats we’re all too familiar with.

While casual listeners might find the overall listen a bit sparse, there’s no doubt it’s the perfect soundtrack to a Halloween party, or indeed a Halloween Movie™️.

With its mixture of wonky psych, fiery funk, and jazzy jams, this may stand as the label's most eclectic and enjoyable compilation of the year. If you love to groove, look no further than this set of scorching songs to keep you moving during the dark, cold nights.

Ultimately, ‘They Got Amnesia’ succeeds in its ability to balance punchy, straight-up rap with a tinge of the bittersweet.

Ultimately ‘Fighting Demons’ works almost as a tribute record, gathering fragments of his undoubted genius. Whether it’s a true Juice WRLD album, though, is another matter.

With features from Blxst, Yungeen Ace, Future, and Wale – amongst others – ‘Richer Than I Ever Been’ is shamelessly entertaining, the work of an artist who knows what his audience wants to hear.

Literate and honest, it doesn’t always connect, yet with 90 minutes of music to explore it’s a project that demands time and patience to truly absorb.

It’s very much a record that stands on its own two feet. These are excellent songs. Not only that, but given the isolation and anxieties of life in 2021, it’s easy to find commonality in these tales of hope and strength amid troubling uncertainty.

While it’s not an unqualified success, ‘An Orchestrated Songbook’ is still an intriguing, at times fascinating exercise.

Overall ‘Barn’ is a solid Young and Crazy Horse album. The songs a layered with all that good stuff you want a Crazy Horse album to have. Crunching guitars. Laconic acoustic numbers. Mournful harmonicas. Catchy choruses and a sense of urgency. While this isn’t a classic Neil Young and Crazy Horse album it’s pretty close.

A 23 track double album, the compositional sense at show on ‘Old Friends, New Friends’ is worthy of Satie or Sakamoto; opener ‘4:33 (a tribute to john cage)’ blushes with intimacy, while ‘Late’ and ‘Berduxa’ are blessed with a twilight pensiveness.

‘The Bridge’ is so much more than a clever concept album, there are links between each of the songs and the prolific musician takes to the theme like a duck to water (sorry!) and whilst water is the common denominator, it is really about connection - connection between people, life and death and more.

What ‘Fleuves de l'Âme’ shows are that some albums are worth the wait as ‘Fleuves de l'Âme’ shows a delicate balance of killer melodies, tradition playing and contemporary electronica.

This is Hopkins’ strongest album to date. It is also his bravest. Which is saying something indeed.

It’s an eclectic mix, and the quality’s as variable as the sound. But by jumping from style to style, and showcasing artists who really ought to be better known, Snoop keeps the party as scrumptiously enjoyable as his recipe for Spaghetti de la Hood. And that’s all he’s really trying to do.

An album with novelistic depth, when ‘30’ turns once more for its London-rooted conclusion, Adele seems to reach a new level in her stratospheric career.

Brilliant album; an album that will become – in time – as significant and important to Gahan’s career as Johnny Cash’s ‘American’ series was to his enduring legacy.

That the groove will be locked down is never in question. Silk Sonic are gonna do what Silk Sonic are gonna do. The only question is whether you or the unnamed love interest are joining them. And you should. 'An Evening With Silk Sonic' is a real good time.

As ‘Red (Taylor’s Version)’ shows, this is an exercise in catharsis. Leafing back through the storybook of our own formative years, we feel it all.

Although both ‘Monument’ and ‘Terrain’ were made in the space of six months, the albums are as different as night and day. If 'Terrain' is the stream of consciousness after three glasses of wine, 'Monument' is the sharp energy welcomed after a detox.

‘Things Take Time, Take Time’ sees her breaching into a new territory while still residing in the safe net of her previous sound, making it an album to introduce her to a new audience and a pleasing one to entertain her already exciting fanbase.

IDLES' fourth record in just as many years is their most ambitious, most introspective, and most powerful to date.

Although 'Elephant In The Room' is not quite as diverse as his 2018 effort 'Pieces Of A Man' or as fresh as his breakout tape 'Wave[s]', there's a lot to love about the album, and it's likely to one that ages gracefully over time.

It won't appeal to those who prefer his party anthems and vibrant disco, but for those who want to see yet another side to this most prolific of musical minds, it's a voyage worth taking.

This album serves up Summer Walker’s best work yet. It’s brutal, yet romantic, it’s fun, yet flirty, it’s everything any listener could be wanting. A rollercoaster of emotions and she’s not even finished yet.

It’s a theatrical 10-piece song cycle that neatly extends their work, while nodding to what came before. At its best – opener and lead single ‘I Still Have Faith In You’ for example – it comes close to reaching the transformative peaks ABBA scaled all those years ago. Yet for a piece of fan service ‘Voyage’ remains confusingly slight.

Art-rap that refuses to be hemmed in, ‘LP!’ excels by tapping in to the rapper’s undoubted verbal virtuosity, while augmenting it with blistering production. Another triumph from one of rap’s true creative visionaries.

For all the album’s deliberate obscurity, there are small certainties and simple candours. She charts the emotional weather contained within four walls (Pale Interiors), the blue sky that sparkles above Kelso. How a lover’s skin can become a causeway, then a canyon.

Even what Jordan already excelled at – her vocal and lyrical expression, as well as her skill with guitar –does not stagnate, resulting in a fantastic example of how a second album should be.

O’Connell colours firmly between the lines. His ideas do not stray beyond the conventions you’d expect for each singer-songwriter outfit he puts on from song to song.

Always Inside Your Head is often a frustrating album, peppered with sparks of genius and disappointing dead-ends. Ultimately, though, it’s another example of an artist constantly – restlessly, you might say – developing.

A charming, timely return.

With ‘The Spiral’ acting as a key moment, a fusion of individual voice and collective endeavour, it’s clear that his journey has only just started.

Unashamedly broad, it can lack detail and punch; yet ‘=’ has something about it that is difficult to shrug off, while being hard to truly relate to.

On the strength of this ballsy behemoth of sound, they're easily holding onto that crown while adding yet another shining jewel. 'Hushed And Grim' is a reminder of what makes the band so beloved while boldly stepping into a new chapter. They've never sounded so good.

‘I Don’t Live Here Anymore’ sees no severe changes from the Grammy award-winning 'A Deeper Understanding,' but does make for a more nimble listen, the track's shorter running time creating a tauter experience.

‘Fast Idol’ sets out what it aims to do. It’s one of those albums that leaves you mulling over the lyrics, itching to find some kind of meaning but feeling ever more distant from finding it with every attempt.

A luscious record bursting with ideas, technical flourishes and unexpected turns - ‘Fun House’ is Duffy’s greatest achievement yet.

A project as mystifying at it is engaging.

Frothy, neon-soaked entertainment, ‘Future Past’ – when it works – is a blast of ridiculous 80s themed fun.

It’s an exercise in catharsis, providing an accurate snapshot into the minds and mentality of the band certainly, but also the general public of the last year and a half.

The whole record feels like a big sigh, a huge outpouring of personal tracks or long running loves that she’s finally able to release right. ... If there’s one criticism 'Blue Banisters' will draw, it’s that it’s the same old same old in its sonics. Playing the same chords and singing in her same tone, this might be one piano ballad too far for less lyrically-inclined listeners.

'Chansons d’Ennui Tip-Top' might be the strongest album Cocker has released since his 2006 debut, but that does the dirty on ‘Beyond the Pale’ and ‘Further Complications’. This is an album made with love. Love for the culture of his adopted home, but mostly a love of music in all its forms and styles.

Impactful and often unexpected, ‘PUNK’ breaks new ground within Young Thug’s identity.

Self-acceptance is a major theme of this bold album and her complicated emotions can be felt by listeners in this stand-out album from Self Esteem.

The 13 smooth jams showcase Joy Crookes not only as a vocalist or candid writer but as the new face of British soul. While many artists chase nostalgia, Crookes offers a different way forward by disregarding the traditional boundaries of classicism.

Full of self-aware wistfulness and post-ironic references, it avoids the pitfalls of many other flash-in-the pan internet culture records by also being genuine; genuinely nostalgic, genuinely sweet, genuinely interesting, and genuinely great.

Although this first effort can be seen as the bridge between some of her collaborators, such as the projects of Wallows and Dominic Fike, Wolf is in her own universe, creating a new style of artistry that will inspire many others for the years yet to come.

‘Music Of The Spheres’ is never less than listenable, but rarely raises the pulse.

Unsettling at times, with moments of quiet intensity – ‘Geist’ is the vulnerable soundtrack to a person’s self-discovery during a period of long, hard reflection.

A record that refuses to divulge its secrets immediately, ‘Life Of A Don’ is packed with immaculate sonic detail while also relishing a certain directness.

Abnormal and mystifying, audiobooks amplify bewilderment on a remarkable second album.

In all its floaty, seductively numbing glory, 'Good Morning It’s Now Tomorrow' is an exceptional work of chamber-tinged indie songwriting.

A nine-track opus of gorgeous musical exploration on their own terms.