While DRIFT’s production values remain solid, a few tracks would have needed more time to be fleshed out. ... Even then, you can trust Underworld to play to their strengths. ... By taking all these ideas and running with them, Underworld has rushed in where most artists fear to tread.

The majority of its songs clock in under two minutes, but Earl is able to pack so much into the short amount of time that most tracks warrant multiple listens.

Revenge is Sweet almost feels like a compilation full of singles – quite a few tracks are Top 10 contenders – and it’s a welcome return for a pair of South London’s finest.

Almost every track on ‘Magdalene’ is built upwards from a simple piano line, hammering home the impression of someone delicately yet decisively knitting themselves back together after coming undone.

As a whole, the album begins strong but unfortunately strays a little towards the end. Overall, Ali Barter’s follow-up to ‘A Suitable Girl’, is more than honest, more than genuine and more than just good music. However, it also has more than a fair share of missed marks.

Candy’s uncompromising approach has been a breath of fresh air when providing guest verses in the past, but a whole album of pornographic paeans will leave you feeling limp.

Athena isn’t just an album to be listened to, it’s to be experienced. While this is arguably true of all music, this album is filled with deeply textured soundscapes that feel contemporary but also from the not-too-distant future.

A very listenable experience, as no tracks outstay their welcome.

With ‘Hell Is Here’, HIDE have shown that a quick trip to the dark side might not actually be a laugh, but it can be somewhat enjoyable, as long as you don’t mind the static.

Truly, an album to savour.

This is a career high from an artist about to reach his creative zenith.

King Princess’ work is arrestingly transgressive because of how comfortable she is with her sexuality. Now she’s releasing full-length projects, we’d all better get just as comfortable with it, and fast.

Pony isn’t perfect, but more importantly it is never boring. Even in the slight missteps, there is something to be admired. ... It is easily one of the most interesting and exciting pop records of the year.

Sonic Citadel towers over its surroundings as one of the best albums of Lightning Bolt’s career to date.

Cry is pure from beginning to end and is a pleasant second instalment from the Texas three-piece.

It succeeds in bringing a 90s aesthetic kicking and screaming in to the 21st century, shedding the nostalgia in favour of contemporary pop pomp, all delivered with Jim Adkins’ trademark optimism and heart-on-sleeve lyricism.

The album overall feels like an experiment for Aubin-Dionne, each song stands alone but it’s heard better as a whole piece. The use of calming synth melodies and diverse beats that tie together to make for a fulfilling and emotional 40 minutes of music.

Memory Streams is mesmerising. It feels familiar, but is ultimately new and exciting.

The songwriting leged could easily be rehashing old songs and playing it safe, but instead he’s written an album full of catchy songs, searing riffs about hope for the future, rather than dwelling on the past.

The project includes a host of features from some of the biggest names in the genre, who provide welcome (but somewhat unnecessary) co-signs as she herself manoeuvres with a standout level of artistry that leaves you in no doubt that she is indeed here to stay.

What Clipping have done on ‘There Existed An Addiction To Blood’ is show that hip-hop doesn’t need to keep to convention to be gripping and visceral; refusing to be placed in stasis for the sake of chart success, the group deserve all the plaudits that will come their way.

The 24 year old wrote, arranged and produced this album all by herself. The work of an immensely talented melodic mastermind, Laetitia Tamko's second album touches on the magical.

It would be hard to find an album to compete with theirs in regards of modernism or creativeness.

Best listened to with the context of Part 1, the way Part 2 rounds the 'Everything Not Saved Will Be Lost' era off makes for the argument that this is Foals' most accomplished body of work to date.

Somebody’s Knocking sees the former Screaming Trees frontman continue his foray into electronica, subtly blending ice-cool synths with dirgey guitars and doom-laden imagery to reveal a love of ‘80s English alt-rock. ... Welcome back.

LAHS is the sound of a band in transition. A record where the sunshine is too few and far between. They’ll surely be back on track before long, but for now, we’re going to have to look elsewhere for that aural vitamin D.

While the album is as subtle as a brick to the face, there is an impressive mix of styles represented on the band’s third outing, making this their most versatile listen.

It’s a record that makes incisions into the staid, one that knocks over the steadfast; it’s a bold, thrilling construction, one that pushes her history to one side in order to build anew.

It’s a slow burner - a passable Twin Peaks album that could, with time, become a great Twin Peaks album, but as of now, we haven’t quite gotten there yet.

With Closer to Grey, the group have created a near-perfect piece of 21st century pop escapism. So, the next time world’s weighing you down, you know what to do. Reach for your turntable. Chromatics have got your back.

Off-kilter energy, and their trademark honesty abound, LIFE - who received accolades such an ‘Album Of The Year’ listing from BBC Radio 1- prove with their second album that they are a quality band capable of making stand-out records more than once.

A raw, primitive nod to the planet we inhabit and our connection to it.

Carnage Hall is an album that bristles with clever ideas, memorable sing-a-longs, ‘Highlight’, ‘Drinking Problems Continue’ and ‘Accordion’, whilst reminding you of all the best bits from Devo, Trust Fund, The Rezillos and why you feel in love with those bands in the first place.

It brings the friendly, familiar sound of a bygone time without begging for the clocks to veer into reverse, and clings to ‘90s noise-pop with the gentlest possible grip. It’s a show of strength too, proving the resilience of the band.

Ghosteen is not a blissful or comfortable album, but it is a hopeful one. The gaping wound of ‘Skeleton Tree’ is scarring over as Cave pulls away from the past’s savage undertow, content in the knowledge that peace will come. It’s a paean to how all things bright and beautiful can be thrown into blinding relief once you’ve known real darkness, another open letter straight from artist to audience that cuts right to the core of what means to have loved, lost and loved again.

Heavily indebted to ‘90s indie pop but never boringly reverential - it’s the sound of a band mining the past into a vibrant future.

While ‘Leaving for Japan’ is a beautiful, delicate song with something of the Twin Peaks theme, ‘Don’t Follow Me’ and ‘Push On’ show, dal Forno is just as adept at creating drama from sparsely layered atmospherics and a forceful beat.

uknowhatimsayin succeeds in flipping our expectations of a Danny Brown album, delivering a project that’s masterfully produced and exquisitely executed.

All Mirrors is a record that is so intuitive and interior, that it feels it could be difficult to penetrate - but it’s one hell of a prize if you give it the chance.

Stars Are The Light is an aural journey, one which forces the listener to reconnect, or at least reconsider, their relationship with nature. In doing so, it encourages individuality and challenges one to break-up with the conventions of modern life.

A stunning effort all-around, it is a pleasure to have Temples back, the prospect of where they can go from here is one of excitement and thrill.

Turn to Clear View, takes everything that made ‘Starting Today’ playful and fun while ramping up the captivating melodies, and guest spots, to create something that feels like an instant classic.

It’s a beautifully assembled package. ... Funny then that this collection should contain so much life, from an album restored to splendour, to a night of joyful inebriation and creativity with a showbiz pal, to a ferocious performance in front of adoring fans. ...‘Dead Man’s Pop’ is the perfect tribute.

'Air Con Eden' is an album that knows what it is: a story. Although it may be a surrealist story, something difficult to penetrate, it’s a delicate and genuine debut, filled with warbled and gentle soundscapes.

Through turns wholly strange and ambiguous, it’s often unclear where the breadcrumb trail of 'House Of Sugar' is leading us, but it’s a mind-bending trip worth taking nonetheless.

‘Jaime’ is arguably Howard’s most important work to date spiritually, let alone critically. Named in memoriam of the beloved sister she lost to cancer when both were in their teens, the album is a sonic sucking of the poison from the wounds of life, and the regeneration of the artist thereafter.

Primal, raw and unformed - and ultimately not an album for the faint-hearted - its lyrical content alternates between the absurd and the everyday.

This is a joyous, unique and tender album.

Elegant, understated, Chastity Belt is the sound of a band matured, and it’s all the better for it.

Over its twelve tracks, the listener is taken down the proverbial rabbit hole as Grzegorz Kwiatkowski's hypnotic and repetitive lyrical attack lulls you along. This isn't an album that grabs you by the collar, but rather builds tension and release as it lures you through the dark thickets of your mind.

A fine piece of work from a criminally-underrated talent.

This is an album encompasses everything Klein has experienced so far. It is rich with texture and ideas. Let’s hope it doesn’t take her another lifetime to create something as singular and enjoyable as this.

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.

Charli is no doubt an album of too many features and too many parts, but it somehow all fits together in a way that allows her penchant for unconventional songwriting and her ear for an exciting melody to work in concert, creating a project better than most anything she’s done in the past.

With 'The Return', Sampa The Great expertly dismantles the notion of genre, proving that, when it comes to art, what really matters is content, not labels.

Transcendental trance with some fierce poetry and song? Colour us impressed.

Though they might be mellowing in their age, that doesn’t mean to say they’ve compromised an inch, and 'Beneath The Eyrie' proves just that.

Hypersonic Missiles is packed with high octane hits, all of which translate into an impeccable record. Sam Fender’s debut is brave, confident and evocative.

‘The Competition’ gets a hell of a lot right, and you get the feeling for album five it might finally all together perfectly.

At seventeen tracks it's a purposefully meandering ride, one filled with funky instrumentals and ambient vignettes. While songs such as 'Lately', 'Insecurity' and 'Sex Emoji' show the band has not lost their ability to deliver funky floor-fillers, it's the more subdued material that really shines.

Gallagher remains an excellent interpreter of others’ lyrics, but he takes the skill further here and it results in a collection of classic songs drenched in melody, accompanied by clearly expressed, noticeable lyrics.

On an album centring around concepts of storytelling and reflection, Iggy Pop’s voice remains phenomenal. It always will. However, an underwhelming feeling lingers throughout 'Free', one which is hard to ignore.

Post Malone still provides us with a sprinkling of the classics: bitches, butts and Millie on wrists, it’s appeasing. But for the most part, he created an insightful and eclectic record which is a testament to his versatility and willingness to do exactly what he wants.

At the end of this journey, we’re left not only with a playlist you’re itching to put on repeat, but also with the a much-needed notion of an inspirational woman made much stronger- much more in love with herself- by the trials and tribulations of her life.

Ultimately 'Saves The World' is a bold, colourful, lyric return, one that is asserting while remaining utterly honest, completely true to themselves.

It is an interesting concept -that could have become a beacon for the perspectives of (male) feminists in music- that failed because it was executed poorly a few too many times.

Despite being heavily influenced by the 80’s, Lost Girls has a timeless feel and is sonically pleasing.

THE S.L.P is safe. It’s the untainted evidence of a missed opportunity. Frankly, someone of Serge’s caliber could have plunged deeper into the void of sonic exploration. There’s always a next time.

Whilst the lyrics are direct and, in your face, the production is just as precise and thought out. It flows with Kano’s quick pace and ability to turn on the heat so quickly. The album offers 10 tracks of quality and meaning over the meaningless repackaged corporate sound that is found more often than not in this day and age.

Those who found Whitney’s honey-coated tales of love, loss and yearning to be just a bit too smooth the first time around are likely only to strengthen their convictions. For those themselves yearning for another dose, this album should definitely satisfy.

It’s a magnificent experience. ... If you’re not a fan, or never heard of them before this is the perfect album to start introduce yourself to them. ... Because: trust me on this, it will hold your attention.

Happiness, for Lana, is a process. This album is a testament to her afresh stability and strength, and shows that hope might be a dangerous woman for a thing like her to have — but she’s finally got it.

GINGER is new ground for Brockhampton, and a gentle nudge to others, urging them to go on their own paths of rediscovery and explore their roots. Thing is, we might need a bit more than a gentle nudge.

Ultimately, the album’s highlights are those songs where the voice and sentiment we hear is truly her own, the enthralling, stirring, emotion- manipulating voice that’s threaded its way through every album since her 2006 debut, not the voice that leans too close to what the pop music machine demands.

It’s less Nick Drake-y than Lay’s last effort, and it feels more self-assured and hopeful.

Like most King Gizzard records, it runs out of steam in the second half, but when ‘Infest’ rips it rips as hard as some bands who have been making this music for decades. Like the modern thrash revivalists, King Gizzard combine youthful energy with enough of their own inimitable style to make this excursion into the cobwebbed world of thrash fresh and interesting.

She’s past and future, concurrently. With that in mind, the Swedish-Iranian singer may have released one of the definitive breakup records of the year.

His most cohesive, and delightful, to date.

The Murder Capital offer authenticity, honesty and truth aplenty, it has already become difficult, if not impossible, to imagine a vibrant music scene without them and there is a sense that this album is only the beginning of their compulsive journey.

This album is purposely ambiguous. By omitting such boundaries, it offers a storyline recognisable to everyone. Love is universal!

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.

Slipknot make an unexpected impact with their newly-discovered tenderness, but it’s those instantly-recognisable throat-shredding roars that really shine.

Tallulah is classic Feeder, and it is hard to think of anything more fitting for a 10th album.

Sometimes they feel almost too airbrushed, with Mabel playing it a little too safe to qualify being described as wholly original or progressive. There are moments of talent and flair, but it would’ve also been refreshing to hear more personality (and less autotune). Nevertheless, it’s an album that contains some real highlights.

On what is his tenth studio album, he proves why he’s achieved such longevity in the fickle game that is rap. Tracks such as 'Turnpike Ike' showcase the four-time Grammy nominee at his very best, while his willingness to delve into topics outside of his luxurious lifestyle add a depth and gravitas to the record that make it a worthy successor to the original thirteen years on.

Both bold and filled with bravado, yet layered and emotional, YBN Cordae is able to convey his desires, hopes, and fears in an ambitious and well-thought out format. A strong debut from an artist who knows that he is capable of long-term success.

From the shoegaze-tinged jangle-pop of 'Future Love', to the dreamy indie of 'Clouds of Saint Marie', Ride sound incredibly fresh-faced.

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

This is a sound of a warm, human futurism. A record that feels impressionistic and abstract, dominated more by feeling than theme. Heavy sounds deployed deftly. Sometimes it feels a little fragmented (like on the slightly off-kilter swagger of ‘We’).

While Live at the Troxy does a good job of trying to capture and recontextualise the Fever Ray live experience, it doesn’t quite pull it off. This is down to trying to capture a 3D, 360 degree experience in mere audio: you get an idea of how good the gig was, but it doesn’t quite do it justice without visuals. However, Dreijer and her vocals – their clarity, and her charisma – are still the stars of the show.

Additions such as Kash Doll and Juicy J are perfect on paper, but beyond justifying their individual presence in the rap realm, do little to save a project which unfortunately suffers from the sophomore slump.

At this stage of their career Nérija are a solid and virtuosic group, who have delivered two pretty flawless releases in less than three years. If this is what they are capable of now, imagine them when it comes time to make their next album. And that’s something to get very excited about.

A brilliant debut that positions her as one of the brightest young songwriters operating in this age of internet bred pop stars.

This is the Bollywood-tinged, swinging disco album you deserve.

Impressive, but there are misses as well as hits here. Sometimes Cuco’s vocals and lyrics don’t match up to his sonic atmospheres.

There are strong highlights across the set, despite this, the failure to be concise forms part of the force's biggest downfalls.

Luckily the album is the group's strongest and most enjoyable album to date. ... There are moments however when things quite work as well as on their previous albums, but these are the moments that are the most interesting and exciting.

African Giant is a cohesive piece of work. The tracks have a subtle dancehall theme which threads through them. 19 tracks may have been too ambitious in this case but Burna Boy is an example of why African music is gaining popularity and becoming more mainstream.