The beauty of ‘Valentine’ lies in Courtney Marie Andrews’ unique ability to shift between multiple vocal textures. Her aching pain is felt in her vocals and unguarded lyricism, a looseness that gives the album its emotional weight.

The result is electrifying, a thrilling homage to the city of their birth. Live it will be unforgettable.

It’s a record littered with towering pop peaks.

Ways To Forget is a bar-raiser--an album of intelligent synth-pop bubbling with humanity.

Funk’s career-defining skill for making worlds collide, in the heart, the head, and the studio, continues majestically.

Fragile, heavenly and utterly compelling; this debut paves the way for boundaries-pushing pop. This is music that shatters you with a single tap.

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.

From start to finish, Dawn Richard and Spencer Zahn have created a truly refreshing body of work, a seamless experience. ‘Pigments’ encourages one to reach outside of their comfort zone, to listen more closely, more openly.

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.

Once again I am moved with the delicate care Gia Margaret approaches her art with, something of a prayer and an anthem to the sovereignty of unraveling, longing and finding.

With the high energy psychedelic haze that metamorphosises around anything this band touch, their exploration of complexities forever surprise.

Boasting 17-tracks and a full hour of music, ‘DeBÍ TiRAR MáS FOToS’ is a love letter to his heritage that boasts some of Bad Bunny’s most definitive moments.

Human is an impressive, life-affirming record chock-full of hooks and classy, grown-up production. Praise be.

An authentic and contemporary guitar sound, ‘925’ is a snappy and raw blend that bounces the listener into the more unexpected edges of the imagination.

Ed’s voice is at its finest--effortless and addictive. It makes you want to listen to this gem all over again.

It's a captivating mix of material, yet hangs together well and has a surprisingly easy flow.

Overall it's a big nostalgic slice of deliciously moreish hip-hop pie.

Jane Weaver has produced what could rank as a career-best project. The best part is, though, that the elastic creativity which drives ‘Flock’ suggests that much more may lie ahead.

Any Human Friend is powerful, sexy, and self-assured - pretty much exactly what we expected from Marika, but even better.

The band clearly dug much deeper and as a result they created bigger sounds than before. It can be seen as the positive impact of a collaboration that has lasted more than twenty-five years – even though drummer Janet Weiss recently decided to leave the band. Maybe the centre really cannot hold.

A dazzling mix of shoegaze, lo-fi psychedelia and fuzzy, mid-period Sonic Youth.

Lyrically ‘All My Heroes Are Cornballs’ feels very stream of consciousness full of political commentary, the concerns of living in American 2019, whilst being engaging, humorous, and informative.

A quietly seductive album that's atmospheric, sometimes melancholic, but often beautiful.

It’s a compelling work that just takes over, in the best possible way.

‘Love Hallucination’ is further evidence she’s now one of the label’s strongest artists, and also one of the most consistent creators of the past ten years. She may have slowly left her bedroom and found her way into the club, but Jessy Lanza continues to produce intimate moments you can get lost in.

Fin is one record in conversation with the others--a new model of creativity and one that has produced, at the very least, an excellent piece of work.

Pitched as the genealogy of DFA records in one album, Shit Robot finally lays down his manifesto as an incisive filter.

Favouring shamelessly blokey call-and-response hooks and not averse to "woos" and "woah-woah-woahs", these tales of love chased, lost and briefly enjoyed are delivered with an infectious enthusiasm and blessed with production by Edwyn Collins.

Driven by crispy drum machines and shimmering synths, Lanza’s second full-length Hyperdub offering is instantly more direct and relatable than its predecessor; cloudy reverb is replaced by sheeny production.

All ten tracks, and their accompanying dub allies, have the presence and sound to claim dancehalls by the fistful.

‘Self-Titled’ makes up for its musical instability with Tempest’s sharp penmanship, and it is difficult not to be raptured on their next word.

With a running time of just under two hours, The Glowing Man may prove too punishing for some but those willing to invest time in its fiery depths will discover yet another remarkable Swans album.

‘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.

A fun pop record that doesn’t skirt from difficult questions, ‘Girlfriend’ is a stellar return.

It’s a sad record, but one that envelops you in a warm hug, wipes your eyes and plays with your hair.

From the very first note Encore is superb, a joyous, addictive experience. Remarkably, it’s everything we’d want from a Specials album in 2019 and more.

Not an essential listen, perhaps, but one that will fascinate and intrigue fans.

It feels as though experimentation was at the centre of this record, with digital soundbites and electronic instruments at the forefront of many of the tunes, yet still beautifully intertwined with the traditional line up.

Showing not only progression and honing of a craft, this record goes from a hulking shredding Goliath to a reflective funk record in the space of a few minutes with wonderfully engrossing results.

Without the visuals and context, the record can become excessively meditative at times, yet at its finest moments it re-forms the uninhabitable vastness of the desert-space as a blank canvas in the listener’s imagination, to be filled with inspiration of their own.

Daring, experimental, and hugely addiction, Blue Lab Beats may just have delivered your summer soundtrack.

Ferocious and feral yet exhilarating and energising, this is music that will reverberate through your bones. One to play loud and ignore the world outside. And boy do we need that right now.

Bouncing from indie to alternative R&B to hip-hop, ‘Ivory’ is a culmination of his interests, all mushed together to create his own sense of authenticity. It is a commanding start, clearly marking out his career ambitions as he continues his journey of success. For him, this is only but the beginning.

More an album that demands repeated listens, at times creates confusion, and juts from one influence to the next. Tatum’s record collection is clearly solid, and now he can again add one of his own to it.

It’s an absolute treat. Littered with innumerable highlights and demonstrating a remarkable consistency across its 16 tracks.

This is her strongest set of songs since 2000's 'Faith And Courage'.

Endless Scroll is 14 snappy, spirited and occasionally incantatory songs.

The resulting record leaves the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

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

His most cohesive, and delightful, to date.

Orbital’s revised sound sees them cement themselves at the forefront of electronic music.

A thrilling return, ‘I Don’t Know’ finds bdrmm breaking down the walls around them to claim a space of pure freedom.

Sinking Into A Miracle isn't for everyone, and it isn't meant to be. If you want to escape down a rabbit hole of enchanting electronic orchestration then this is just the ticket. If not, then maybe give this one a miss.

Compelling back-story aside, Understated--Collins’ eighth solo album--is a magnificent set of songs.

The truth is that in matters of injustice, anger is one of our most powerful tools and with it ‘Hugo’ showcases an essential part of the depth and criticality Loyle Carner possesses as an artist.

Self-produced and melding electronic elements to their more conventional methods, this is a record by a band that has fallen in love with making music again.

Aat only just in their twenties, they’re still wracked with as much uncertain as they self-assure; a dichotomy conveyed perfectly across Try Not to Freak Out, and something which makes the record both ballsy, and utterly irresistable.

‘Bad Cameo’ rightly shines light on the craft, a soothing, extremely subtle song cycle that needs time for its labyrinth to be solved.

A brilliant and intoxicating record.

‘Big Conspiracy’ never fully sits in one place, this ever-evolving puzzle with J Hus at the core. He wears many masks, but it’s often when these slip that ‘Big Conspiracy’ is at its most viral, and revealing.

Glorious singalong hooks and unashamed sass dominate the debut offering from indie writer Elizabeth Sankey and indie cult-hero Jeremy Warmsley.

Musgraves is gifted at letting the melodrama slip into something sensual and ‘Mexico Honey’, and its neon-lit innuendos, proves that her pen is still razor sharp. .... Her voice is as serene as ever and it rarely complicates her desire to embrace the undefined. If anything, it amplifies it through her day-glo incisiveness.

'Music' is an album that shines its brightest light on Sings himself. Often lending his talents to the work of others - including Rex Orange County’s ‘Loving Is Easy’ and Free Nationals’ ‘Apartment’ - Sings often had to be comfortable on the sidelines. 'Music', however, sees this prolific musician finally move centre stage.

It’s a welcome return from the marquee indie act, who thread moments of humour, aspiration and joy across the album’s twelve tracks. Their sound is coated in a new varnish which leaves the listener feeling as rejuvenated as the band.

Self-possessed and uncompromising, this is a record with regal bearing.

Far from a filler project, ‘Find El Dorado’ stands as a fully formed artistic statement, reaffirming Weller’s place as a restlessly creative interpreter of song (yet again).

This is a timeless collection of blossoming ballads.

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.

At over an hour, it’s not casual listening. But SUNN O))) have always been about testing limits, pushing boundaries, (destroying speakers). That’s precisely why the album works and why the band have endured.

The Russian five-piece move so defiantly through their debut the resulting radiance sings of a group unshackled by their limited means.

Misty keeps this album pretty genuine. There are jaunts and horns and dancing mixed with sorrow and piano and heartache; his lyrics cutting through any joy with wicked humour and his comic persona still second place to his incredible songwriting.

Without necessarily reaching an unprecedented level of greatness, the record showcases new strengths, this in turn seems far more fulfilling, and no doubt more believable, for a band who are at this critical stage in their careers.

A brave and open experience, it stands as one of Gold Panda’s most riveting statements, amplifying his technical virtuosity while also honing in on the glorious melodic jewels that allow his work to linger so strongly in the imagination.

‘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.

Some may have written them off already, but on the strength of their best album in a decade, I'm with them.

This record sees Ware set herself free of any inhibitions and demand her listeners to follow suit. Ware’s vocals show the breadth and strength of their ability; dancing across ranges and depth, from delicate, whispered notes to soaring falsetto.

Yes Lawd! is a feel-good album that isn't afraid to take a step back and reflect. NxWorries brilliantly capture the sense of being carried by the whirlwind of success--disorientated and bewildered but enjoying the ride regardless.

The group stated they wanted to get back to basics and make a ‘good time record’, they’ve easily succeed, but Stiff also offers a band who continue to push their influences and have gigantic amount of energy left in the tank.

On ‘Nothing Lasts’, the final song on the album, Schleicher seems to find peace after what’s been a fascinating but intense journey.

An album that leaves a profound impact in the softest manner possible, ‘A Quickening’ thrills with its pin-prick intensity, with its phantom-like layers of sound. In documenting fatherhood, Orlando Weeks has emerged as a songwriter renewed.

Although this album lacks a certain grounded cohesion, it is rewarding to see him floating and flying for a minute, exploring different avenues of his voice, his history and his sound. He boldly ushers in a new wave of truth and complexity that foreshadows what else he has left to say.

The album's ear-catching finish endorses Golden Ticket as a rewardingly receptive, slightly slippery customer to the death.

With his last album, ‘Stick Season’, Noah Kahan confirmed the reign of folk-pop in the current age, and with ‘The Great Divide’, he further proves that he’s not just a one-hit wonder.

An album of rare patience and empathy, ‘End Of The Middle’ doesn’t ever allow itself to descend into forthright commentary. Instead, it presents its scenes to you, inviting you in, and allowing you the time to reflect on the quiet luxury of finding such comfort a drag, in turn asking you to consider the fates of those who would find such a life an aspirational relief from the breadline.

Each note feels necessary, each word feels heartfelt – in chipping away at the excess to reveal these personal snapshots, Maggie Rogers has unlocked something very special indeed.

‘Everyone’s A Star!’ never loses its sense of fun. The album feels like their debut record, but grown up, bolder, and fully in command of its sound.

‘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.

For the most part, all 10 tracks are jam-packed with energy, and captivatingly so.

Nathan Willett digs deep into fractured relationships for inspiration and the resultant openness, coupled with King's deft nurturing of Willett's soul-searching, has created the finest Cold War Kids album yet.

With a voice that creaks like well-loved furniture and lyrics telling tales of the lives and losses of others, this album represents a career highpoint.

An inspired listen, it stands as a wonderful achievement not only in jazz, but in African-American improvisatory arts more generally.

This, his fifth album, is also an overt ode to limbo, the halfway house of consciousness and true death. And this is where all 19 tracks dwell, in between the failing light of traditional jazz and the bursts of neon emitted from his polyrhythmic, nocturnal electronica.

The Scandinavian chanteuse has returned with more anthemic contenders in the shape of her sophomore album 'How To Let Go'.

A well-timed treat delivered by one of music's most beloved eccentrics. Go explore.

With ‘Land of Sleeper’ Pigx7 have managed to sharpen their uncompromising combo of Sabbath-esque riffs and experimental leanings into their most easily digestible – and perhaps best – album yet.

If you stand back and appreciate the whole, like a Monet, you will be delighted and intrigued.

It finds the band coming into their own, more unafraid and united than ever, with a record heavy in lyrical content but bright in tone.

With an expansive tone that ‘Vol. I’ lacks, this is an addictive, clever, and primal magnum opus that refuses tropes and easy predictions, going far beyond the niche of fiddly psychedelia Angine De Poitrine’s viral following came from.