Anna Burch fills ‘If You’re Dreaming’ with deft allusions, enhancing her voice with jazz-tinged chords, soft rock blemishes, and singer-songwriter tropes. It’s all handled with her customary grace, however, resulting in a subtle record that gently overwhelms.

There is no doubting the power Roddick and James are wielding on ‘Womb’. The talent of Purity Ring as songwriters, instrumentalists and visionaries is clear to see – it will be interesting to see where the band can take their sound in years to come.

‘Song For Our Daughter’ is a powerful and resounding success, and re-affirms Marling’s position as one of our most important feminist songwriters.

CALM is a refreshing evolution from the days of their self-titled debut. Their latest effort is by no means perfect, but the album is a testament to their growth.

Sonically ‘The Loves Of Your Life’ is a Wurlitzer whirlwind of nostalgia, however the glimpsed memories that lie at its heart are so charmingly dazzled to life - they are testament to the humanist eye of a songwriter as vividly inspired as he has ever been.

Nova Twins’ sound remains 100% homegrown British beefiness. There are many people out there from across the rap-rock spectrum who will despise this album (for reasons both fair and foul), but there are many more who will appreciate the lack of compromise in this rollicking call to arms.

The three work well as a collective: Chip provides the cut-throat and fresh bars, Adz comes with the melody and Skepta is free to experiment throughout. The beats stand up too, consonantly switching patterns and breaks and bringing the best out of each artist.

Beneath its whimsical summery palette, lurks a repetitive sound that dulls the vibrant texture the lineup promises. In short, it’s an album that’s halfway there.

It’s so heart-rending you could keep yourself wrapped inside its comfort for hours and not come out. To all those troubled minds and torn hearts clinging to the past, this is utterly heavenly.

It’s an album embracing difference, accepting highs and lows: just what we need right now.

‘A Written Testimony’ is a biblical album for biblical times, with enough human flaws to make it imperfect.

‘Saint Cloud’ is the refreshed, reformed and matured Waxahatchee – and it’s glorious.

‘Before Love Came To Kill Us’ has a number of strong tracks and is an excellent debut. Jessie Reyez appears to be in total control of this record and shows off her versatility, as well as her rage.

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.

Porridge Radio have not only written the album of their careers but possibly of the year too. Their new project ‘Every Bad’ is full of the catchy songs that are overflowing with lo-fi ramshackle post-punk guitars and uplifting vocals.

Overall, aside from a lack of sonic variety from song to song, ‘Velvet’ is a strong showcase of a soundscape that is – pun intended – smooth as velvet.

Production-wise especially, this is The Weeknd’s strongest project yet, and deserves all the recognition.

‘Future Nostalgia’ is an empowering, dynamic pop cavort from start to finish. Dua’s compelling vocals, hooks and beats are a force to be reckoned with, daring you not to boogie around your bedroom.

‘High Risk Behaviour’ clocks in at under half an hour which is a good job considering The Chats only have one trick, but strewth they do that trick well.

Righton paints the perfect picture of his inner thoughts as he embarks on a cinematic journey with poignant lyricism, exquisite production and charismatically seductive soundscapes reminiscent of Roxy Music.

‘Aporia’ certainly asks a degree of patience from its listener – the kind often reserved for previously-existing fans of Stevens – to realise its full potential, but over the last few decades the number of listeners able to give this patience has grown exponentially, just in time for Stevens to push boundaries that bit further once again.

From infectious single ‘Ego’ and to sobering dream pop song ‘Connect The Dots’, his determination to look for solace beyond right and wrong is palpable. We believe he is riddled with guilt – and that is a testament to Solomon’s talent. By comparison, the second half of ‘Uneasy Laughter’ is almost void of internal conflict, even if it remains melodically accomplished.

‘42.26’ - unmasked as the previously released ‘Feels Like Summer’ - and ‘47.48’ (which features his son Legend Glover) are the only other enjoyable tracks on the project. The other songs seem to fade and ultimately becomes background noise with no proper substance compared to Donald Glover’s other projects. Lacking the strong narrative thrust so apparent on his past albums, the project is incredibly disappointing.

An energetic and vibrant project, that is exactly what the music scene needed in such an uncertain time. One of J Balvin’s strongest projects to date.

For all its crystallised pop production, ’Ricky Music’, can’t help but feel flat. More concerned with evoking a feeling and mood rather than say anything explicit about the sadness, confusion and joy that Maine has experienced in the creation of the record beyond broad stereotypes of sadness.

Code Orange’s aim is not to upset the status quo but to rob it. Are they delusional? Absolutely, but the sheer, clear-eyed ambition they exhibit in pursuing the impossible is compelling enough to make ‘Underneath’ an absolute must-hear for anyone who dares to dream differently.

Despite sometimes failing to embrace the originality that made its predecessors so popular, it has some exceptional moments.

With ‘Weather’ it’s Saint Sinner’s vocals that give the project direction; when these are stripped away on ‘Simulcast’, it’s up to the listener to find a way though, to draw the conclusions. And it’s these personal conclusions that make ‘Simulcast’ arguably a far more engaging and interesting experience than ‘Weather’.

Collector is clever, catchy and addictive, and gets better with repeat plays. You can only imagine he and Disq know exactly what they’re doing.

Starmaker is a joy from start to finish. Together, each song on this debut album supports Honey Harper’s ambition to bring his cosmic country into a wider setting and he does it with currency and aesthetics.

The pacing can get interrupted somewhat by the sheer amount of skits on here, and a Jay Sean featuring ‘Any Day’ slams on the brakes mid-album, but other than that this is a tightly packed, lightning-quick swing at the racism of British society. Riz Ahmed might now be more famous for his acting, but he’s been making music since he was a teenager – and on this album, it shows.

A rich, rewarding, and extremely direct return, one worth observing on its own terms.

If you’re in the right mood, it’s a fun slice of cosmic silliness that absolutely deserves to be packed away in your coolbox and brought out, nicely chilled, in approximately five months’ time. However, if your vibe is even slightly off then it can quickly become annoying in that subtle way that’s hard to register at first, but soon makes itself felt.

Dreamy but real, hazy but pure and insightful, this project facilitates fresh ambition and explores new ground for Real Estate. And maybe, this record will take them even closer to that elusive ‘main thing’.

Forged at the intersection between positive and negative, romances and crumbling relationships, ‘Vices’ is a celebratory collection of a real-life instances represented in song - and it is as perfectly imperfect as real life itself.

'Ordinary Man' is far from perfect, but all Ozzy Osbourne's solo releases tend to reflect their creator's flaws to one degree or another. It does, however, absolutely succeed on its own terms, serving its purpose by reminding the world just what we'll miss when this titan among titans finally departs us for good.

Although the sound of the album is wide-ranging, it holds continuity through its lyrics and general sentiment. K-Pop after all is an inherently genre-blending style of music, so it’s no surprise.

‘Companion Rises’ is an easy listen and utterly gorgeous with it.

The record feels slick and polished, yet natural and unnatural. Like Grimes’ previous music, it’s a scary, ambient, and muddlingly beautiful mess.

‘Man Alive!’ is an absorbing consolidation of Marshall’s inimitable sound.

The resulting album, on which she’s joined (as ever) by the brilliant Bobb Bruno, is an irresistibly upbeat tribute to self-care, reflection, and the joy of the everyday.

This is a playful project, not afraid to dabble with creativity but also showcasing both Denzel’s lyrical ability and Kenny’s creative dexterity, both artists’ visions. It’s as if they created a glitch in the hip-hop matrix, and one that would be welcome again soon.

The main problem with ‘Changes’ is that it isn’t exciting or dynamic and suffers from dragging in places. Part of this is down to the lack of variation on the album.

Engrossing, dark and irresistible, ‘Stray’ is a grandiose effort from an adventurous group, who just keep getting better all the time. Bambara remain a genuine force.

More than two decades on, the group’s era-defining work projects the same spellbinding urgency, continually taking guitar music to new places with imagination, force and creativity.

At just under and hour the album isn’t notably long nor short, but there are no parts that drag or feel out of place. This isn’t a hip-hop album, a jazz album, an electronica album...but something that will speak to fans of those genres who’ll take this as their album.

Dan Deacon’s return into the solo world has resulted in an exuberant fifth album that leaves us craving for more of his newly honed skills. The fascinating contrast between his acoustic and electronic backdrop leads us towards an elusive higher power, while some of his lyrics bring us back down to earth.

Jaar shows signs of evolving here, and it’s more than welcome. For a record that feels chaotic at times, everything falls into place.

A solar system held in place by its own revolutions, ‘The Slow Rush’ is testament to the patient productivity and unrelenting creativity of Kevin Parker.

The closest ‘Quadra’ comes to breaking new ground and entering unclaimed territory is the dramatic metamorphosis of Green’s voice during the nostalgic nu-metal hymn ‘Agony of Defeat’, not to mention the superb acoustic intro and the profane chorus of ‘Guardians of Earth’. More crucially, the samba drum-kit of ‘Capital Enslavement’ and the syncopated beat on ‘Raging Void’ shows that the idea of exploring percussive possibilities is slowly growing on them.

This is an album that shows a progression, but instead of delving deeper into harsh sounds, they have gone the other way, delivering something that feels light and fluffy but has the same lyrical hit as their debut.

Makaya McCraven breathes new life into not only the album but Scott-Heron’s legacy.

As an exercise in reclaiming control, in setting out her stall, it is a definite success, a hand-made pop exercise in an era dominated by algorithmic marketing plans. As a listening experience, though, it’s somewhat limited and frustratingly repetitive, ultimately paling next to La Roux’s previous heights.

It’s testament to JME’s influence that he’s able to pull in such heavy hitters, but also to his talents on the mic that he’s never overshadowed.

Green Day have delivered possibly their most immediate album this century and an album that, despite its short length, grows more rewarding with repeat listens.

The Neon Skyline is one of those albums that will probably never achieve the popularity with the influencers and loud crowds that one sometimes lazily associates with a “successful” artist. Instead, it’s more likely to be enjoyed by hardcore fans in a small venue eschewing the limelight for a communal lament of the lives of the narrator, Charlie, Rose and Claire.

‘Funeral’ is a mixed bag, and feels more like 24 tracks Lil Wayne had lying around than a coherent project. It’s a shame, because there’s a very good album somewhere in the 24 tracks on offer, but it’s weighed down by a lot of filler.

Despite the sadness that clearly surrounds this project there is plenty of positivity: the production of the album is impeccable, and the overwhelming message that shines through is of hope for the future.

Hard to ignore, her voice is glorious and rich, and her music intoxicating. ‘I Was Born Swimming’ is an intense journey to take with its creator, but it envelops entirely. You are where she is, you feel as she does.

By tweaking the American seasoning in their long-simmering stew of English folk, Smoke Fairies have finally delivered on their early promise to create an album you can truly get lost in.

A young super-group who are growing at a fast pace, their third album is glorious, ambitious and fulfilling, and it can take the band to new places and...loving spaces.

It’s undeniably interesting, but here’s hoping the clever USP doesn’t lessen the record’s staying power.

Nothing about this record feels forced but instead encapsulates Kesha’s outlook on the crazy and weird rollercoaster that is life itself.

‘Mind Hive’ will be remembered as an album that reminds us a price tag still can’t be put on our integrity – artistic or moral.

Ultimately, this album is a timely, much-needed, reminder of the fact that while suffering is inevitable, so is our resilience in the face of hardship.

‘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.

With this album they’ve perfected their journey of the last decade of connecting with their musical past while pointing a way towards the future.

Compared to the previous self-titled record the features here are in sharp contrast, with less of a hip-hop emphasis. That doesn't mean they're not interesting, though.

Bombay Bicycle Club’s time away has propelled the band to a new plane of compelling sophistication, where musically and thematically they have evolved to create a beautifully profound and stunning soundscape full of promise and self-examination.

Manic is an imperfect collection of tracks - with high peaks of sheer genius along with the low falls - but it still manages to fill eyes with tears, hearts with love and minds with thoughts as it explores the life and times of a 25-year-old in startling, stark detail.

With this project he shows that age is just a number, defying any expectations that have been set by the rap scene.

Although ‘Modus Vivendi’ has oodles of instant appeal, the minute the rule book is thrown out the window, Shake is at the top her game.

More. Again. Forever shows a band who insist on exploring, learning and get closer to the truth about life and human existence, and there is just no way that this can ever, ever, be a bad thing.

Preaching the same elements on 'Different Scales', this EP shows us what is to come on Jenkins' forthcoming album. If 'The Circus' is just a prelude, then old and new fans alike are up for a special treat.

His words are stirring without ever being hyper-specific, and can apply to any trying situation that he or the listener has experienced. There is a connection with him through his delivery, which maintains the modesty and gratitude of a person just genuinely trying to figure his way through life.

By considering themes such as love, social injustice and all round perseverance, it is both mature and engaging. The Big Moon are constantly breathing new life into a genre which sometimes runs stale. For that we should be eternally grateful.

This album is going to seriously divide opinions across the spectrum, from the trvest of metal sugariest of pop stans. But Poppy remains a daring and divisive artist making daring and divisive art, and ‘I Disagree’ is the perfect shot of adrenaline to kick start a new decade with.

She exudes the beauty of an artist comfortable in the idea of taking risks, an asset she’d do well to keep hold of as, from what exists on this record, you feel that a classic is just around the corner.

Each song is different, and the wide-ranging scope is something we haven’t had from a collective since ‘Revenge Of The Dreamers III’ by Dreamville and J.Cole record label last summer.

Jesus Is Born - as a stand-alone album - is pretty neat.

At times the production is marred by brevity and unevenness, which can make ‘BUBBA’ sound more like a mixtape in places. Thankfully, these moments are outnumbered by others where Kaytranada is well and truly back on form.

Heavy is the Head absolutely hits it out of the park. It’s the same winning mix of grime bangers and radio friendly singing as last time, but, crucially, it’s better at making sure they work together on the same project. 16 tracks might seem like a lot, but when almost every one is a classic, it’s so hard to care.

There is a ‘fine line’ between plain pop music and good pop music that’s interesting to listen to. On this album, Harry Styles definitely falls into the latter category.

The concept of ‘Cottilions’ definitely deserves some applause. It’s a big, brave project for anyone to take on, and rather than disappoint or fail, it impresses, and in some places, it shines.

Despite the album’s missteps, Coldplay manage to find themselves pockets of beauty in the midst of the chaos that they themselves have ironically created, to craft something melodically unique that whisks us back to 2008’s watermark 'Viva La Vida' era.

Songs on ‘Reflection’ transcend the boundaries of radio-ready pop music, are a reflection (no pun intended) of the larger shift of pop music to something entirely digital in every sense, a shift that seems to mirror that of the music industry in the past decade.

It takes something to stay true to the original ‘Who-ish’ sound after 50 years in the game, but unlike so many others, this time they’ve managed to do so with impeccable form.

Every single song boasts a glittering chorus and light yet effective production; this is a record built on simple pop tracks that are a pleasure to dig deeper on. 'Girl' is the iceberg of 2019 pop albums; dip under the surface, and you’re awestruck by the depth of it.

Overall, it's a glittering, multi-sensory synth-pop record that compels you to let yourself be transported through cosmic dimensions and the rich, textured under-layers of Beck’s creative psyche.

BODEGA’s mantra is “the best critique is self critique” and it is a message that is well conveyed throughout this album.

For this project Ben Cohen has taken the vocal outtakes and sketches and has crafted wonderfully rich and vibrant music around them. Is it what Leonard would have wanted? We’ll never know, but it doesn’t sound out of place in his rich canon of work, which is the important thing. Long-term fans will revel in another chance to lap up his wisdom and that captivated audiences for almost 50 years.

Konradsen's warm intimacy both strangely familiar but uniquely their own is one which will stay with you in the months and years to come. Welcome to their world.

Hot Pink is an album that knows exactly what it is, and it’s the work of a well-crafted hip pop star with something to prove.

Everybody’s Everything is a well-rounded tribute showcasing every aspect of Lil Peep. Not only highlighting an upsetting loss in the music industry but setting the bar for emo-trap; a sound that can often come across as gimmicky, this album exceeds our expectations and is a righteous example of Lil Peep’s art.

Kind is a heartfelt, fully realised collection of songs, embedded with optimism providing a much needed hope for our challenging times.

Perhaps not one for the casual fan, but there’s plenty to unpack for the long-time admirer.

Lapalux has a great touch, but a bit of attention on the parts of the project that feel slightly off could bring out all the fantastic in this record.

The record is the most realised and singularly minded vision yet from the Moor Mother project, a documentation of venomous rage, yes, but also one in search of a means of escape, one found through the redemptive power of community.