No Mind No Money is one of those records which has the potential to evoke mass sing-a-long’s but is versatile enough to still be enjoyed in less boisterous settings--all whilst radiating a captivating warmth and comfort which ultimately will keep you coming back for more.

While it might not possess the anodyne lyrics of generic chart mush, the similarities are disturbingly discernible. Thankfully, such moments are in the minority.

At the heart of ‘Wormslayer’ lies an undeniable truth – Kula Shaker’s creative fire has never burned brighter.

Their carefully crafted, layered arrangements, and surreal lyric create a bit of a wonderland feel which is more than welcome as the day slowly grows brighter.

While that album was littered with features, seeing artists put fresh spins on their classic material, this project is completely stripped down in comparison with the sole features being from Lil Tjay and Mansa respectively.

Atlas is full of seemingly effortless, ageless, guitar-driven songcraft.

It's so steeped in New York's musical cliche of disco and glammed-up dance that it struggles to take flight under its own power.

By cementing his role as musical heir to the mantle of Serge Gainsbourg (if you ignore the fact that Charlotte Gainsbourg herself is a pretty worthy heir), as well as perhaps the only musical peer of Sleaford Mods, Baxter might just have succeeded in further escaping Ian Dury's long, dark shadow.

All of this seems like a nod to the work ethic of their DIY roots, but they often transcend this, knowing they could go on to greater things.

A stirring accomplishment.

A record that alternates between the playful and the emotive, ‘My Boy’ thrives on the songwriter’s restless creativity, while never truly settling into one sphere.

The songs have been reinterpreted and elevated by Khruangbin’s sonic retexturising and takes the listener through a technicoloured journey of Ali’s most-loved classics and B-sides from his extensive catalogue.

An attempt to sidestep presumptions and carve out new space, ‘Transparency’ could be the most unexpected move of Twin Atlantic’s career.

In classic Alex Cameron form, ‘Oxy Music’ is full of true lyrical artistry in the most to-the-point way possible.

Century Plaza sees all the greats of the synth-pop and original electro shown respect, if a little too closely at times--but damn, it’s some somber fun.

Stella Donnelly has an unwavering ability to execute a subtly empowering and relevant record with derisive humour and mischievous wit.

Existing in a different realm to ‘Chromatica’, it’s testament to Lady Gaga’s astonishing breadth, and the timeless effervescence of Tony Bennett.

They have plenty to make them stand out from the crowd. The legacy of Seattle grunge is alive and well and being extended in the hands of Strange Wilds.

While it’s not an unqualified success, ‘An Orchestrated Songbook’ is still an intriguing, at times fascinating exercise.

It is an album produced on it’s own terms, that should be considered on it’s own terms. Judged as such, 'Human Energy' is a successful document of an artist enjoying his life, his work and more generally his own company.

A fine balance has been struck--along with no little gold.

With minimal production and few moments of experimentation, the album is flawed and doesn’t add much to Zayn’s musicality, but it indicates that he’s achieved some sort of clarity on the direction he wants to take as a solo artist.

While ‘FLIGHT’ may not be for the faint-hearted, it is undeniable that El Khatib has set out what he wanted to do, and has done so in the style of a true professional.

It seems as if Novelist made the album he wanted to make, despite the external pressures, and gave us a project which is sonically, socio-politically and unapologetically grime.

Meiburg’s voice is a wonder throughout, wonderfully fragile on ‘Hidden Lakes’, tearing it up on ‘Corridors’. A wonderful album.

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.

Higher Truth is by no means groundbreaking but it's damn solid and doesn't truly contain a bad number.

Largely shorn of the gloss which took him to stratospheric heights, it’s little more than man and guitar. The results are affecting, but – and this remains Ed Sheeran, after all – not devoid of schmaltz.

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.

C’MON YOU KNOW is the broadest of Liam Gallagher’s three solo albums, and also the deepest. It’s the one in which he learns to bare his soul a little, and accept different influences.

The result is a compelling exercise in growth.

Unlike their first three albums, What Went Down arrives without any obvious standout singles and is a far cry from Foals' early energetic indie sound. On the other hand, it's impossible to deny that the overall album is a hugely accomplished effort from one of Britain's best surviving bands.

It's not a difficult or aloof album, but there is a cool precision that feels different to the choppy punkiness of old.

The only problem here is that the genre is taken to the extreme, and can blend together to the point where the album seems like one massive track.

When they're good, they are glorious and their enthusiasm is infectious, this band thrive when live but perhaps there's a little too much padding filling the, er, void.

It’s a pleasingly considered and well-crafted project from a man who’s contribution to the UK music scene should not be understated. A man who has proved himself yet again to be a talented and versatile producer with obvious respect for the music that has got him to where he is today.

Being a tad derivative isn't a crime, however, and everyone needs an influence. What's important is that the songs are good--and they are.

Black Radio 2 is a good, albeit safe recording.

Brash and bold, its juxtaposition of fragile synth lines and uncompromising slabs of aggression make for a compelling, if not occasionally familiar, listen.

By the end of it, it’s very clear that this is a deadly serious record--not a parody, not even an homage, but a largely enjoyable marriage of the stodge with the airy and the old with the new which manages to retain an impressive sense of cohesiveness and consistency.

What we have in this album is a solid set of dance head-turners, but it narrowly misses the rubbed-raw rave charm of 2012’s ode to the 808, 'Transistor Rhythm.'

A jungle of genres, which includes an impressive throng of featured artists, from the moody and sultry ‘Ta Ta Ta’ which sees the somewhat controversial Travis Scott dip into focus, and infectious country bop ‘Change Your Mind’ which ushers in the likes of Shaboozey, to Rolling Stones rock icon Mick Jagger.

An early contender for this year’s big summer rap album, we won’t be surprised if we are still hearing about Honest when the winter cold returns.

‘Short n’ Sweet’ as a whole is a little less addictive than its lead single, and a little less sensitive than its predecessor, but it’s a solid entry into the Sabrina canon, with plenty of potential to sneak up on you with a gut-punch should you ever find yourself relating to it.

Another sign of the creative ripples emanating from London’s jazz underground, There Is A Place features some stunning playing with an abiding awareness of the power music can hold.

While it lacks the untethered aggression of past efforts, there’s a mean underbelly to tracks like ‘Beverly’ and ‘Howl’ that makes up for this.

Folk textures such as these can sometimes fail to stand out, but Williamson’s powerful vocals practically beg for attention. Either way, even if the idea of country influences doesn’t sound the most appealing, there’s something so alluring about Williamson’s serene tunes that it’s a worthwhile and lush listening experience.

Although at times the sound experiments can feel too inward-looking, Howard balances the darkness and lightness of his palette with relative ease, producing a record of imaginative depth and danceable surface.

The first few tracks revel in the heady days of a budding relationship, all stolen kisses and duvet-cloaked promises. But as the seasons flutter by the untenability of their situation gradually dawns on our two lovebirds.

Still flaunting in the grunge realm, the overall result is tough, yet accessible, including some deeper moments.

‘Now or Whenever’ is more of a grow-er than a show-er but has much to show for itself.

A surprisingly cerebral triumph.

Money, manipulation and vaguely unhappy mediums haunt the album's lyrics, though indistinct phrasing and a blearily subdued vocal mix make these themes feel like peripheral, subconscious murmurings.

The execution may at times be slightly slapdash and a little heavy-handed but the message is still there.

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.

Its brevity might lead some to think it slight, but those who persevere with ‘Seeking New Gods’ will find yet more evidence of Gruff Rhys’ undaunted off piste genius.

Live in London see as duo with chemistry stronger than ever. Let's just hope their busy schedules make room for the long-rumoured movie. If their past work is anything to go on, it will be gold.

Despite the still occasionally underdeveloped, teenage diary-like lyrics, there are glimpses of more comedic moments amongst the angst.

IX is a finely detailed exercise in establishing and exploiting excitement levels, at points telegraphing its trajectory but always delivering substantial payoffs.

Not an unqualified success but worth your consideration.

Whilst there are some bright gems for Jacklin fans interested in her ability to be vulnerable and confessional, there seems to be a whole lot of build-up – and not a lot of climax.

Boxcutter flirts competently with funky house ('Zabriskie Disco'), UKG ('Moon Pupils') and even mid-'80s funk ('TV Troubles'), all showcasing his deft and malleable production styles.

Frothy, neon-soaked entertainment, ‘Future Past’ – when it works – is a blast of ridiculous 80s themed fun.

It can be a little too sterile in places but for the most part, Working Girl shows that Little Boots is a canny operator who, now that she's been given the opportunity to do things on her own terms, has finally shown us what all the fuss was about in the first place.

Some may say Atwell could have opened up further, but there’s no doubt this is an album of depth which deserves repeat listens and which will be loved by her fans as well as enjoyed by newcomers.

A weighty 20-track affair, it’s a record peppered with highlights.

The pervasive dreaminess and charm ultimately results in an absorbing debut album.

When Knapp and Pederson get it right, which they mostly do, especially on the first three tracks, it’s a joy to listen to. However, when it doesn’t quite work it can be a bit of a slog. Saying that when it does all come together ‘Fault Lines’ is exceptional and shows that Knapp and Pederson still have plenty to say.

Wyldest writes lyrics that are sparse, but that is not to say that they don’t have bite.

This is an enjoyable blend of ballads (‘58 BPM’), funked-out euphoria and even a satire of dance music pretension (‘Ten Minutes’)

A new listener to Everything Everything may not be fully converted, but the synth-pop twinkles coating this record freshen up their sound.

It bursts with techno beats that jump wildly from deep and dark to bright and euphoric.

A premise so potentially sprawling is over and done with after 35 minutes. As the conduit probably has his next spiritual plain and energy source in mind, it all adds to the enigma.

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.

Flowers is easily the Icelandic singer’s most accessible, prettiest record to date.

‘SPARK’ reinvents Whitney as a contemporary syndicate of classic pop and their third album is an impressive, bold and contagious body of work that is more candid, emotional and contemplative than ever before.

You can skip the cinematic intro and the uncharacteristically dour ‘Late Night Final’, but for the most part, Inform - Educate - Entertain is fresh and fun.

An easy record to enjoy, but a difficult one to fully evaluate, it presents an artist pursuing vital sense of personal and aesthetic freedom.

Despite the pristine production and supercharged atmosphere, this feels like his most personal set and where the music falls into more predictable territory, it's kept buoyant by Hammond's emotional warmth and his wistful, contemplative lyrics.

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.

While these are only flashes, they help make Corsicana Lemonade a progressive exercise in restraint.

It is unmistakable that this album has been crafted with the consideration of Chloe Moriondo’s distinctive humour making the album an exceedingly fun listen.

It’s great when I’m listening to it, but nothing really jumps out and lodges itself in my brain - perhaps harshly, it all feels like a puddle of slightly warm water where an ice cube used to be.

It has to be said that, considering how Nick Hornby is credited with writing all of the lyrics here, the usual Ben Folds key words are present and there's only so much 'bastard', 'shit' and 'fucking' I can take. Despite this concern, as well as being Folds' most musically accomplished outing since going solo, it does feature the magnificent phrase, "some guy on the net thinks I suck and he should know; he's got his own blog."

Taking inspiration from Al Green, Barry White and D’Angelo, produced with her long-term friend and collaborator Micachu, Tirzah manages to create a warped ‘90s R&B record with a soulful core and enough electronic dissonance for the modern age.

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

There’s generally less immediacy on this record than seen on previous albums, and this will no doubt turn off a few fair-weather fans. The flip side is a band pushing its boundaries, grabbing some serious Warp artist vibes, and evolving into something more cinematic and mature.

‘Only Slightly Empty’ may not be the full glass, but it’s proof that White Reaper aren’t done pouring yet. And I’m sitting here ready to sip on whatever they are going to pour out next.

Bouncing with tastefully witty track titles, fizzing synths and mechanic beats, Family Of Aliens perfectly encapsulates the sound of 2018.

Far from breaking new ground, Through The Green is still standing on top of the hill revelling in the view, yet when you've got this much groove you don't need to prove much.

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.

There is plenty of time for Guwop to build upon the formula that already has him winning.

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

After the impulsive creativity of Logos, Parallax, by contrast, is a much more refined listen.

It's about as modern an electronic record as you can get. It's pretty much safe to say that 'Memory' won't be fading for a while.

In the constant struggle between hiding emotion and indulging in its depths publicly, Vu satisfyingly finds a way to prioritise reflection and release.

In the end, ‘Work Of Art’ is fun and eye-catching, but you’re left thinking that more depth will surely come as Asake evolves into his place in the top tier of international music.

A work of subtle progression, its evangelical appeal is dimmed by the familiarity of those colossal singles. As fuel for the continuation of Justin Bieber’s mission, however, there’s much here to reaffirm your faith.