Major Lazer’s best songs have always acted as overstimulating sugar-rushes - but the formula that was once fresh and boundary-pushing for mainstream pop now sounds outdated.

For all of E’s melancholy brooding, ‘Earth to Dora’ still has a tender and vintage vibe. Although E seems to have adopted the role of a hapless romantic that is unlucky in love, this record is still strangely upbeat.

It is a personal, self-referential record, then, but one of the tenets of radio is the shared listening experience it provides, the sense of togetherness. It isn’t too much of a reach to say that listening to this album helps to process and make sense of these times and, especially, of the state of play of pop-adjacent electronic music.

While the album is pretty much removed from her usual major pop moments, it’s more refreshing that way, and there’s more of a connective-unit feel to Positions than much of her previous work. After all, Grande has always been an album artist, and this one is yet another to whistle home about.

In ‘Love Goes’ Sam Smith has produced a flawed but decent return that mirrors the introspection of this strange, difficult year.

An artist who scarcely slows, Andy Bell offers a fine blend of psych-pop, folk finger-picking, and home made electronics, all within the familiar confines of his shoegaze day job. More, please.

The rapper fails to assert creative delineation over this sprawling mesh of music. That said, ‘Featuring’ is peppered with career highs.

The crisp, contemporary production is a revelation with the finer details bursting out at every moment. It’s a stark contrast to the original demo, which sounded like they were playing in your neighbour’s flooded garage and hurriedly recording everything direct to tape before the C45 ran out.

The sparse palette - Lenker’s acoustic, incidental percussion, reassuring tape hiss - serves to isolate the quiet brilliance of the melodies, setting their winding, spontaneous beauty against angst that spans existential questioning and the nuts and bolts of severing ties with someone you care about.

Like a self-fulfilling prophecy, ‘Moral Panic’ perfectly shape-shifts into its new context in the midst of the current climate. The band achieve another phenomenal album which might have benefited from one or two fewer songs - but nevertheless demonstrates their dramatic range of capabilities with a spattering of radio hits.

The music is engaging, yet thought provoking. It sounds unlike his previous three releases, but there is a continuation of ideas throughout. It’s an album from an artist who doesn’t pander to trends and goes his own path.

‘Burden Of Proof’ pushes Benny The Butcher back to the forefront, and offers further evidence that Griselda is one of the most vital labels in North American hip-hop right now.

It’s been said that every era gets the monster they deserve. If this is the case then ‘Visions of Bodies Being Burned’ is everything wrong, and right, with the world distilled into 52- minutes of absurdist hip-hop. We’ve never had it so good!

A record that walks the streets of West Africa and West London with equal confidence, ‘Strange Timez’ offers respite from the dark clouds that swarm above 2020, a gateway into another realm.

‘Only For Dolphins’ is the sound of free-flowing sonic travel, and it’s depiction of Action Bronson in full flight underlines the conception that this is an MC who is back to his peak.

As a whole, ‘Letter To You’ is a wonderfully warm experience, perhaps Springsteen’s most human for some time.

Some fans may be disappointed by the more subdued nature of ‘Someone New’. Yet her ability to combine woozy guitars with killer synths and endlessly catchy melodies hasn’t disappeared, only softened and matured, as the title track, the brilliant ‘Pale’, and ‘Dog’ prove.

A beautifully crafted, nuanced record, bursting to the brim with ideas and not afraid to test the listener with its expansive sound pallet.

Remarkable. ... The 12-track project explores the collapse of a marriage, financial turmoil, anxiety, self-doubt and self-care. A lesser rapper might sink in the mire, but Open Mike has always been dope on the mic, and ‘Anime, Trauma and Divorce’ find him at his best.

‘SIGN’ is an album that doesn’t just get under your skin, but in your head. If you give it enough time it will own, you and you will feel better for it. Autechre have returned and the wait was definitely worth it.

It’s a phenomenal record, undoubtedly one of the finest to be released this year – in its mood, kineticism, and an adorned darkness, ‘Untitled (Rise)’ captures something truly remarkable about this chaotic era.

This impressive collection is a touching tribute to Petty’s enduring legacy and demonstrates his candour, artistry, and emotive storytelling. This is a real must have for any Tom Petty fan and paints an even more colourful picture of what has always been a masterpiece as well as unveiling an exciting treasure trove of musical gems which will inevitably become long-lasting Petty classics.

‘Fake It Flowers’ is a starting statement that runs on unmitigated confidence, a revealing, enthralling, enchanting debut record, one that finally finds beabadoobee throwing open the gates and letting the world into her life. It’s a joy to behold.

‘Renaissance’ sees Aluna cementing herself as one of the most exciting artists around with this iconic offering that will inspire dance records for years to come.

The instrumentation and guitar playing in particular can sometimes feel like a serenade, to encapsulate such place and time easily lends credit to the talent of this songwriter and all of a sudden, you are a sundowner too.

The best thing about the album, and there are a lot of good things to it, is just how simple it is. Nothing feels overthought, calculated, or insincere. The songs come across like gentle gusts of warming wind when you are out late without a coat.

‘April’ might not be as strong as 2016’s ‘Second Love’. The songs are solid but not quite as pristine as its predecessor. However, it’s understated melodies and melancholy laced lyrics still have the power to stop you in your tracks. This feels like third love.

Herring’s blessed baritone vocals teamed with their trademark bittersweet synth and hefty baselines will continue to make for decent, honest albums for as long as the four-piece please, but the introduction of a faster, lighter tempo in tracks like ‘The Painter’ and ‘Hit The Coast’ could mark the beginning of a much-needed dive into uncharted musical waters.

The twenty-track project, dedicated to his late mother, features Headie’s strongest, most reflective writing to date. Distance offers clarity, and the further he navigates away from his past life, the more vivid the pictures he paints of it.

‘Who Made The Sunshine?’ feels like a fresh slate for the Buffalo artist. Drawing on the weight of his experience to carve out fresh opportunity, it’s a record that – only at moments, mind you – contains some of his best work.

‘Savage Mode 2’ matches ruthless entertainment to phenomenal artistry, a collaboration that works on a number of levels. Once more exposing fresh layers to 21 Savage and Metro Boomin.

Their interpretation of Barrett Strong’s ‘Money (That’s What I Want)’ and the mysterious sounding ‘Fever’ brings a different dimension to these classic songs and breathes new life into these and other legendary songs.

We’d be looking at an even better record had it allowed the space required for her often unrecognised jaw-on-the-floor vocals, but as a whole Melanie C has drawn from a whirlwind year to make a jubilant album that understands where she is right now.

The vocals on the album are flawless, particularly for tracks such as ‘White Rooms And People’. ‘Outside’, is perhaps the quaintest offering on the album, but is immediately followed up by ‘Be My Guest’, an industrial offering that sends listeners into a frantic dervish.

The record is unmistakably Jónsi, especially with his ‘Hopelandic’ language making several appearances. ‘Shiver’ provides an enjoyable glimpse into Jónsi’s direction, but struggles to balance the tonal dichotomies of abrasive electronic freak-outs and blissful melancholia central to the album’s appeal.

‘Stay Alive’ has a sense of quiet intensity running across its 13 tracks, material that uses points of inspiration gathered across the previous two year international tour. There’s a real vitality to the work, from the bare bones recording style so evocative of Albini’s work through to Laura’s powerful, trenchant vocals, erupting out of the speakers.

Davidson has easily transitioned between dim clubs and big festivals and learned to balance her acerbic ‘existential pop’ with hard-nosed techno. Drawing on the former, ‘Renegade Breakdown’’s appeal is in some ways broader, but she also risks putting off some of the initiated. On the whole, it functions as a reminder of the virtues of going against the grain and not playing it safe.

There are thoughtful beats and thoughtful words here, complementing each other instead of overpowering one another.

‘What You Gonna Do When The Grid Goes Down?’ isn’t without its flaws. Sitting very much in their own lane, the group prefer to finesse – rather than overhaul – their sound, and as a result it can sometimes veer into the predictable. That said, Public Enemy never once let the energy drop, their raw sense of purpose intact.

Essentially, it’s rock’n’roll at full pelt; Bob Mould doing what Bob Mould has always done best.

A must-listen for those who like their metal with depth and mystery.

A succinct, focussed return, ‘Phantom Birds’ makes a neat soundtrack to the final days of the English summer.

While not their best work, ‘Ultra Mono’ takes many leaps forward in terms of songwriting and tunecraft, while blowing a few kisses at their detractors. That’ll be mission accomplished.

There’s a stunning candour to the lyrics, though it gets a little stodgy in the mid-section and, at 80+ minutes, is a little more verbiage than the typical album. Yet we’re dealing with an untypical songwriter, and the last two tracks are among the best he’s ever written.

Without a doubt, the millennial angst is still there, but his sound has matured and evolved giving a more sophisticated feel. However on occasion, it’s lacking an element of rawness that was historically present in his previous album. You cannot however deny his star quality, his guitar playing prowess and of course his soulful yet gravelly vocals that are both captivating and comforting in equal measure.

As natural and inviting as the curling of the leaves, ‘Shore’ is Fleet Foxes at their best. A voice of comfort for an atmomised generation, this is less album, and more treasure trove.

Tracing the lush synth lines running through this album shows Epworth’s love affair with the retro electronics of the 1980s. But their pairing with the sensibilities of modern pop ends up feeling less like the 80s, and more like last decade’s 80s nostalgia.

Her self-imposed solitude during its gestation period (she apparently spent 10 days in complete silence at a Vipassana retreat while writing) has led to a very introspective work that somehow still feels relatable.

Slimmed down to forty minutes split between ten tracks, Apple has the feel of one cohesive whole when compared to 7G’s daunting monolith.

With the additions of neat production touches and elegantly self-aware lyricisms to complement Weiss’s already powerful atmospheric sound, there is a definitive feeling of hope that runs through the core of this album.

A perfectly balanced album that matches her newfound vibe as a woman ready to tell her truth. This album is a note that good things come to those who wait.

Forceful and atmopsheric, ‘From A King To A God’ punches through the glass ceiling, its purposeful swagger leering out of the speakers. His third full length project in 2020, ‘Conway The Machine has hit escape velocity.

At just ten tracks, it’s an easy listen. Of course, some of them have more repeat playability than others, but there are none that feel like filler.

Wayne Coyne’s lyrics occasionally aim to capture some of the small-town desperation of a Bruce Springsteen or John Mellencamp, referencing go-nowhere greasers and bikers with names like Johnny and Tommy. More often than not, however, he reverts to his usual themes: spaceships, magic forests and the undimmed majesty of the milky way.

A record of sustained power, ‘Re-Animator’ manages to pull together many of the band’s finest elements, offering something complex yet accessible.

With fluidity and ease aplenty, the ten songs on ‘The Universal Want’ render a soulful, elevated journey visiting outer and inner locations, providing the listener with a sense of fulfilment.

Equal parts entertaining and wide, it finds the rapper coming full circle, only to find himself once more.

Ending with an attempt to find hope amid despair on ‘Darkest Hour’, ‘Faith’ is tailor-made to thrill their mass army of fans, balancing fresh ideas with that glamorous melancholy.

‘Spell My Name’ [boasts] moments of rich maturity, the kind of lyrical openness that has always made her work so intriguing. Yet there’s also an unwillingness to embrace contemporary movements in R&B, in the manner of, say, Brandy’s recent LP.

In marked contrast to a rich oeuvre combining stylistic fluidity with countless collaborations, it is often the most ascetic moments of introspection such as ‘When We Die’, ‘Past Mistake’, ‘Analyze Me’, ‘Makes Me Wanna Die’, and ‘Poems’ that are engraved on our memory, the stripped down productions displaying his sixth sense for the rhythm and emotional tone.

In almost every way it is bigger than his debut, there’s urgency to the instrumentals and operatic crescendos, all in the aid of trying to observe the madness.

Dream Nails often surprising, forever enlightening debut album proves that the revolution will be a whole lotta fun.

The tough guy act only gets you so far, though. And that is why 'Karma 3' really comes alive when East exposes his character’s soft underbelly. ... Memories tainted by regret and guilt – the flip side of nostalgia – resonate in Motown-style acoustic instrumentation and chunky Golden Era beats combined with a supreme cast of vocalists.

'ENERGY' sees the duo step out of their comfort zone, engaging with an array of previously unexplored artists, genres and themes. They have wholeheartedly refined their vision and approach as artists.

Smile leans on tired cliché and outdated dance-lite production.

The diverse range of music on offer is second to none, but in certain ways acts as an Achilles heel of the record, the competing genres feel cluttered, never quite firmly settling on a succinct sound. That said, this body of work is strictly feel-good and reinforces the promise behind Duckwrth’s major label debut.

‘KOMPROMAT’ is an album that cements I LIKE TRAINS once more not only as a force to be reckoned with but as a band who are able to deliver a delicate critique on society.

Overall, 'S&M2' is a worthy successor to its predecessor, but not without its faults. ... From the outset, it’s clear the recording is sharper and punchier than its 20-year-old counterpart, but with a far less forgiving mix. While before the orchestra and band blended into one digestible wall of noise, at times, it sounds like instruments are competing for room this time around.

‘The King’s Disease’ finds Nas grappling with a raft of contradictions, contrasting the opulence of his lifestyle with the need for vitality in his message. It’s not perfect, but it’s less an end product, and more the search for creative process – by the end, you become convinced the Queens rapper has found his throne.

Working versions under soon-to-be-changed titles, these sparse arrangements are more than just sketched outlines. Stripped down to their rawest nerve, unfiltered yet purified - they transport us straight to the feeling.

“The power of conceptualising who you are has really informed this album,” Owens states about Inner Song‘s essence, and her second album executes it perfectly. This album is an eye-opening discovery of self, laid bare for all to see.

It is the blistering irresistibility of what is achieved at that point, which makes this record striking and inescapable.

‘Androgynous Mary’ is an excellent, excellent debut and examines themes of hope paralleled with despair. They have struck the balance perfectly.

Garcia allows these songs to ebb and flow without a clear end point in mind, allowing the interplay between her band-members to become this album’s primary draw. She has proven herself to be just as formidable a composer as she is a performer.

This body of work is as meticulous as it is melancholy, which is what makes it so profoundly personal and universal at the same time.

A group at their preening, pouncing best, ‘Songs For The General Public’ offers a full 360 view of the D’Addario bros. creativity.

Sheer, unabashed stadium sonics delivered with a heart of gold, ‘Imploding The Mirage’ finds The Killers providing one of the biggest – in both a sonic and emotional sense – albums of their career. It’s a propulsive achievement, pushing their songwriting to the limit in a thrilling, Devil-may-care manner.

‘Just Look At That Sky’ doesn’t presume to offer solutions; it’s an honest document of what it feels like to wade through anxiety, day by day, not a survival guide or handbook of answers none of us actually have.

The project doesn’t really find the band moving outside their comfort zone – indeed, ‘Candid’ is defined almost by how resolutely ‘Whitney’ it feels.

Unpredictable it may be. Biffy Clyro it definitely is, and its uplifting and optimism hook the perfect catharsis for a year that’s been nothing short of terrible.

With six of the fourteen songs already in the public domain, the LP tips its hat to familiarity whilst still creating a whirlwind of excitement from fans.

One of our greatest living guitarists has conjured up something truly special.

This is the sound of Fevre going out on a high, its nagging beat and air of sensuality sounding utterly timeless, yet wonderfully, weirdly, unique.

'Limbo' is certainly not a representation of his best work, but rather an example of a talented artist not pushing his boundaries.

Wistful and wise, ‘Twin Heavy’ offers a portrait of the young man as a record collector. With his magpie-like eye for treasure and eagerness to share, Willie J Healey has conjured something special.

‘Purple Noon’ shows Greene finding some musical maturity. While the album might not be as strong as his previous releases, we’re starting to see the real Greene which far more rewarding.

A record that feels incredibly refined, ‘JAGUAR’ is an expert piece of R&B engineering, with each individual part interlocking perfectly. It’s a wonderful experience, with Victoria Monét’s stellar artistry balancing the sensuality of sound with a killer lyrical flair that aims straight for the heart.

A brave and ultimately bold move, it’s hugely effective – direct yet sumptuously nuanced, ‘Dreamland’ is a triumph.

As the tracks progress along the album, they get better and better, and more experimental too. These are tracks which have been made to be played in arenas with their throwback influences.

Overall, ‘Such Pretty Forks In The Road’ is relatable in parts and uninspired in others but for a few key moments of simple brilliance it’s worth a listen.

A record worth savouring, it sits alongside NewGen R&B talent – step forward ChloexHalle, we see you Kiana Lede – while retaining that classic touch.

Taylor Swift’s quiet, exquisite album.

It’s a real banquet, a feat of folk re-contextualisation driven forward by the sharp emotional instincts of its formidable maker.

Subversive, non-conformist and melodious, this record has the credentials of a classic rock and roll album. The decision to take a radical approach only works for the few, the possession of ammunition that’s needed to master such a challenge is not for anyone. Fontaines D.C. have it.

A radiant and eminently danceable album, it’s a necessary salve to put on this year.

Five ravishing down tempo moments, ‘Life On Earth’ is a pivotal transmission from the R&B artist, one that is heavy on aesthetic sensuality and lyrical emotion, which dipping into varied points of inspiration.

‘Under My Influence’ is a bold undertaking, but, at times, it feels unfinished. While many singles and supplementary songs showcase the band’s talent, much of the record weighs in as forgettable filler sounds that take some time in getting accustomed to.

Thoughtful, innovative, and reflective, ‘Songs Of An Unknown Tongue’ is a special record, one that offers up questions and revelations in equal measure.