Brilliant – if overdue – debut album. ... Welcome to Alison Goldfrapp’s paradisiacal, tempting, thrilling vision of the sublime.

Rock-hard and sloppy in equal measure, Boy King is a creature of base instinct from a band of high intellect more used to drawing their songs from their frontal lobes than their testes (even if their lyrics often suggest otherwise).

There's a wild-eyed energy that pulsates throughout Nozinja Lodge's 45-minute length and, while this may be an acquired taste, it captures shangaan electro's kaleidoscopic nature perfectly.

A bold, kaleidoscopic funnel of sound, Valet's rich return is worthy of celebration.

Equally fragile and resplendent in its execution, it's the kind of album that stays with you long after its haunting close.

Having made the record about themselves, surviving under external and internal pressure and marathoning against the grain, Maria BC has spoken for all of us.

With this new album Wallace proves himself as a complex and multifaceted producer and this makes us even more excited to see what he’ll come out with next.

Out of devastation, Loraine has pieced together an album to cherish.

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.

'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.

Viagra Boys have a deep well of emotional intelligence hidden underneath their aggressively ignorant façade.

At once a relatively pragmatic re-release of already heard material and the satisfying conclusion to its previous flirtations, Joli Mai is a hybrid: part-album, part DJ-toolbox--and totally playable, in any context.

'Your Hero Is Not Dead' is essential listening for anyone at odds with themselves or the current state of society, which really should be just about everyone at this point.

In forty minutes, the band not only reminds listeners why they became scene heroes but also why they’re one of the UK’s most thrilling exports. For our money, it’s another home-run of a record.

The unconventional twists and turns of My Love Is Cool makes Wolf Alice one of the most exciting new bands around.

‘star-crossed’ demands to be listened to in one go. ... She has calcified a range of difficult, overwhelming, sometimes liberating emotions into a time capsule marking the most turbulent time of her life. This is heart on sleeve storytelling.

A thriller from start to finish, Been Stellar’s ‘Scream From New York, NY’ is one of the most assured indie rock debuts to land on our desk this year. Focussed, concise, and rippling with incredible energy, it’s an assured 10-track statement that blends visceral melody with raw power, tapping into their live prowess while embracing the clinical control of the studio environment.

At once a joyous, celebratory ode to motherhood, elsewhere finding quiet liberation and acceptance during life’s darkest moments, it’s clear, Meg Remy has delivered her most hopeful album yet.

Always respectful of the traditions from which they emerge, Steve Gunn and the Black Twig Pickers are happy to less these sounds evolve exponentially into stunning, unforeseen vistas. A real gem.

Though they sometimes still miss, Twentytwo In Blue stakes out the loss of innocence that comes with growing up, and it does it beautifully.

This mini album sees Wire once again looking askance at modernity via cryptic cynicism, bassist Graham Lewis's obtuse lyrics reaching new levels of vexatious impenetrability.

FFS manage to combine all the characteristics of what makes each band appealing but the record never veers too close to Franz Ferdinand territory and neither does the supergroup fully embrace the experimental side of Sparks.

Mura Masa’s nuance, confidence and obvious versatility betray his relative inexperience, and it’s increasingly clear that he is already a musical force to be reckoned with.

[A] joyous debut album.

It’s a potentially fulsome harvest E.M.M.A. has planted.

This third LP’s motley magic merits the coveted breakthrough that these Celtic chancers deserve.

The undeniable influence of Krautrock in the drone, dirge and motorik beats interspersed with passages of ambiance make for a deliciously diffused, shimmering, summery psyche salad.

Perhaps lacking the urgency or unity of the label’s first instalment of 10th anniversary comps, Hyperdub 10.2 nevertheless successfully celebrates the diversity of a neglected side of its output.

He returns in possession of a gloriously direct set of songs that feel instantly familiar.

Out of something very, very old has come something deliciously new.

Riot Boi is a trailblazing record very much in the now. It's bombastic, and transgressive.

If Deenmamode tempers his idiosyncrasies just a little, allowing his music to breathe better, the results can be even more profound.

A band mentality may of allowed the material to work some new ground but as a solo project we’ve a dense collection all sticking to one vision. One to dip into when the storm clouds are approaching.

So long as you can tolerate the musical hopscotch that a Barry Adamson album always represents, Know Where To Run is probably as good an introduction to this peripatetic musician as you're ever likely to need. Just make sure to expect the unexpected.

More than simply a side project and definitely not just a collection of cast-offs, Oddments Of The Gamble is a remarkably cohesive listen for something assembled over time and without restrictions.

A return-to-roots record that works most successfully when it rebels against itself, Jamie T's vision of revelation isn't something to be easily shrugged off.

It must be said that a few of the dance mixes will sound a tad repetitive to modern ears, but what really proves fascinating is the melting pot of influences on display.

A Humdrum Star feels like a step beyond the precious experiments of their opening records, a concise and complete statement that defies categorisation and reinforces the vitality of UK jazz at this moment.

Haiku Salut use instruments as a tool to tell stories, and the band’s emotional gravitas is symptomatic of how this type of music can triumph against all the odds.

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.

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.

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.

With their modest personas and its subtle production, it could be easy to disregard dvsn’s third record as more of the same, but repeat listens reveal a warm and unpretentious record, from an act confidently starting to evolve.

The first half of the album is particularly monotonous, with the one-man band fervently spewing similar hooks that show very little dynamism and only serve a purpose to maintain a foot tapping rhythm.

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

Caro’s debut album certainly shines bright and is beautifully off-putting in everything it tries, from its lyrics to its musicality. The effects on you, however, will depend on your ability to be challenged by the music you listen to.

As ever, this latest window into his psyche prompts as many questions as it provides answers - despite offering his usual warmth and intimacy, he still deftly keeps the listener at bay by retaining a degree of mystery

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.

Overall, the album is a tour-de-force bound to leave the listener nostalgic for warm, sunny times with an inherently groove-focused, genre-bending sound.

Neil Young is also isn’t accompanied by anyone. He’s just has his guitar between himself and the audience. Its wonderful to hear. And this is why ‘Royce Hall 1971’ is a remarkable album. Yes, we’ve heard all the songs before, but not quite like this.

The interplay between Young and Promise of the Real is great and dare I say, they somehow manage to out ‘Crazy Horse’ the actual Crazy Horse. This is a greatest hits selection worthy of Elliot Roberts’ 50-year friendship with Neil Young.

Peppering the underground with some of its most influential cuts, each new project has taken him closer to his goals – hell, he’s even nailed a Grammy nomination. ‘$oul $old $eperately’ works emphatically to bring these elements together and push them to a new level.

Lashed with swathes of distant bittersweet nostalgia, the record dabbles with elements of funk, electronic, indie and pop to form beautiful airy vocals and infectious guitar melodies, punctuated by rolling drums, through to delicate folk tracks which demonstrate the breath of Constance’s lyrical prowess.

An artist who continually confronts his own emotions, ‘Permanent Damage’ finds Joesef heightening his intentions, and magnifying his aspirations. He’s manifesting pop greatness, and few would bet against him.

On occasion, the record feels quite lazy in its lyrical direction and yet too direct, falling into moments of cringe rather than what could have been perceived as powerful and fun.

Soon to be household names, Coach Party refused to be pencilled in to one genre, but still managed to retain consistency, coherency and identity on their debut record, a feat rarely seen – so keep an eye on them.

The thematic string throughout ‘WEEDKILLER’ is extremely present, the messages bold whilst never sacrificing the integrity and quality of the tracks.

Atmospherically broad, it moves from quiet sounding to the creation of something big and epic sounding. The emotional setting of each track changes a bit throughout, but it’s a record that is deeply connected.

Finely sculpted and perfectly executed, ‘The Auditorium Vol. 1’ finds Common and Pete Rock utilising experience to their advantage. Creating a storm on its release, the perfectly executed roll-out trod the line between fan-service and expertly distilled creativity.

The album title ‘Transparent Things’ proves cohesive with its contents; storytelling lyrics that on their surface level fixate the listener before drawing them to see through Ford’s fictional-narrative muses and reflect on their compatibilities with them, all against the back drop of a strong indie-rock soundtrack.

This is an album that if you don’t engage with straight away, give it some time and try again. I’m not sure how often I’ll play ‘Through Other Reflections’ going forward but there is something wonderful going on under the surface that is captivating.

A work of maturity and quiet meaning, ‘Morayo’ stands alongside some of the defining moments in Wizkid’s work. Staying true to himself, this may be his most honest full length yet, driven forwards by a higher power.

The Amazons have taken all the best elements of their previous records to create the album it feels they’ve always been striving towards. A whirlwind of polished, widescreen anthems, it’s a full throttle rollercoaster that you’ll want to ride again and again.

UNIVERSITY have given us themselves on their debut album, and we thank them for the glorious noise, chaos, mayhem and moments of calm which takes us to another world completely.

Despite the promise of impending doom, ‘Who Wants to Talk About Love?’ is a free-flowing, acoustic dream – a true testament to Bird’s dedication to her craft.

Older, wiser and more seasoned, ‘Selling A Vibe’ finds the brothers refreshingly thoughtful and assured. All achieved while sounding as rough, ready and brilliant as ever.

They know how to tackle them [cover songs], so they still sound as vibrant and exciting as the original but add that something extra so they sound, and feel, like a Xiu Xiu song.

At times the lyrical component can leave you cold.

The Portland-based psych-rock outfit’s second album is an absolute triumph.

Now, they’ve unveiled their eighth collection of poetically punky musical works which carries their fresh momentum to expansive heights.

The album’s lacking that one standout moment to make it a truly transformative experience. Still, the scope and ambition are to be applauded, and it’s a treat to take a voyage around his mind and beyond.

This is an album that deserves big headphones and large sweeping views of grey coastal days.

Employing a dense rack of synths, the opening tracks establish a slightly chaotic fug that the record gradually emerges from. And, once its found its feet, the album treads a pretty glorious path.

M.I.A.’s most consistent work since her debut. ... Yes, her myriad ideas are still tumultuous, but there’s precious few other musicians out there attempting such an ambitious and impassioned collage of words, rhythms and concepts.

It's an optimistic, romantic and frequently lovely record.

That this is both Beirut's deepest and most instantly enjoyable album is obvious.

She continues to rise above our expectations. Producing a sound that would comfortably fit alongside the greats she once listened to on her Walkman.

Deranged and balefully bleak.

Instead of throwing perspective on her fears, anxieties and problems and helping to alleviate them, that context and duality only amplifies them. They become her, and she becomes them. ... ‘Hurt A Fly’ is one of the more optimistic-sounding songs on the album, but even its hopeful tone is laden with the threat and/or promise of everything crashing down. The tender strains of ‘Pass’ also offer a glimmer of hope, but one that, inevitably, eventually burns out and turns to dust.

SBTRKT’s signature sound, which defies genre boundaries and pushes the boundaries of popular music, continues to shine on ‘The Rat Road’.

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

The music is stark and abrasive but there is a feeling of hope. Lurking underneath it all themes of gender and insecurity litter ‘The Great Regression’.

On the surface, a hyperpop post-punk album should never work. But somehow, by some distorted miracle, Courting pulls it off – in the best way imaginable. In a landscape of so many albums regurgitating overbaked sounds, Courting have redefined guitar music. Instead of using the guitar as a songwriting tool, they use it as a weapon.

‘Portrait Of A Dog’ offers up a compelling glimpse into Yano’s chimerical interior world, deftly and sincerely, unfurling memory after memory without devolving into, and getting lost in, syrupy sentimentality.

Despite having to navigate different kinds of losses to get to this stage, Tucker and Brownstein have emerged stringently triumphant, their bond stronger and more unshakeable than ever.

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.

It’s a more grounded and less airbrushed exploration of identity than we might be used to from Hannah Diamond, but one that counteracts an era increasingly obsessed with the perfect image and the false promise of forever.

‘AMANA’ walks the line of comfort, and the new; inviting us to come on the journey.

It doesn’t really coalesce into a total success, despite some unquestionably fun moments, clear skill and grand ambition.

An impressive development of their sound, KOKOROKO further utilise their talent, alongside a slew of collaborators, to hit on something a little deeper than their previous work.

His drawled, out of focus mumblings drawing you in unavoidably to the patchwork sonics, and though the album can be a little overwhelming on first listen, repeated plays reveal an irresistible talent.

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.

An album of stunning ambition and outright defiance, Everything Not Saved Will Be Lost Part 1 rips apart everything you know about Foals, a bold transformative work, as inspiring as it is urgent.

There’s a wonderful rawness to Porter’s vocals, confronting his troubles of the past with his blossoming musical pallet.

Living up to its title, Phantom Brickworks proves a spectral set, a fragile sounding record that confidently conveys the intent of its creator. It may not win him any new fans, and old fans may even be puzzled at the lack of sunny beats seen on last year’s ‘A Mineral Love’, but it still stands as a great escape for those who like to get lost in sound rather than riffs.

All this does is reassert the effortless, enduring power of those original pieces; find the originals and save your pennies for the forthcoming Carpenter tour.

'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.

The act-to-act cohesion is seamless, as is the recreation of rigid techno militancy, and should be met with at least one bouquet brought to the stage.