The answers aren’t as easily obtained as on its Grammy-winning forebear, but ‘King’s Disease II’ dares to ask questions of its maker, and its audience.

Initial cuts from French duo The Blaze showcased their electronic influences, however with this new album they’ve gone above and beyond with their sizzling percussions, mournful vocals and trance-like sounds.

Richly textured and finely detailed, Invisible In Your City goes moreishly deep.

All the songs are of a similar tempo, tone, and theme. There is little to distinguish them – a bit more diversity wouldn’t have gone amiss. Saying that ‘World Of Hassle’ is pretty fun and has some killer melodies.

Chaosmosis from its title onwards is endearingly flawed, but the sense of communal enjoyment with which they are synonymous radiates from a large swathe of this material and it remains pretty addictive.

With crisp cymbals, heavy guitars and gritty rock ‘n’ roll vocals, this album was meant for a pre-party party.

A work of impish maturity, ‘Extreme Witchcraft’ is Eels at their most playful, with the band’s carefree wizardry still delivering thrills, even after all these years. While not ranking with their absolute best work, in terms of breakneck guitar-led songwriting it more than delivers.

For the most part, although the record is not without its weaker moments, ‘Flow Critical Lucidity’ is a good reflection of Moore’s rare experience. A deep, if relatively short, listen which will reward repeat plays.

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.

This year’s Pinned is its well-made product that checks all the boxes, successfully imitating the late ‘80s feel--the highest compliment in this line of work.

Whilst the album is overflowing with strong tracks, not all are up to par, with ‘The Night I Kidnapped Remo Drive’ slipping below the bar.

Through intensely personal storytelling, Black has created something that is undeniably relatable. Whether through shared experience or a basic recognition of the feelings on show, there is a sincere universality in his music.

Unsettling at times, with moments of quiet intensity – ‘Geist’ is the vulnerable soundtrack to a person’s self-discovery during a period of long, hard reflection.

A succinct, focussed return, ‘Phantom Birds’ makes a neat soundtrack to the final days of the English summer.

It’s sometimes a little scratchy around the edges, but mostly honest, tender and wonderful.

Dream Wife’s self-titled debut is a satisfying and infectious trip of lo-fi indie pop that starts 2018 off with a much needed shot of adrenaline.

And my sixteen-year-old-self waits with baited-breath, wracked with the same nervous excitement I had a decade ago except this time, there's anticipation and expectation, justification, even, for an album I've waited almost half my life for.

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.

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.

While this sonic nonchalance means it can lack singularity and impact, Parallels feels like an organic and necessary evolution for Chung, his affinity for dense, hazy, dreamlike production still as mind-altering as ever.

This is a debut with lots to love, abundant in experimentation and overall pop accessibility--and not many comparable collections can claim those qualities.

As a whole, the album seems to rally against the instant gratification which is a main feature in so much contemporary music—this was definitely not made with TikTok in mind. Instead, it encourages stillness and contemplation, rewarding deep listening with rhythmic undercurrents that lure you into a meditative state.

It’s romantic, existential, frantic, and disorganised, and that ultimately strange mix of tones, genres, and production all adds into a singular esthetic. Nonetheless, it’s hard to ignore its shortcomings, and it is all too easy to rue what might have been, as there are moments of brilliance here that are too often cut short by an unnecessary lull in artistic reinvention.

‘Born Pink’ gifts fans a mixture of commanding hip-hop tracks, satisfying pop tracks and affecting piano ballads.

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.

‘Who Made The Sunshine?’ feels like a fresh slate for the Buffalo artist. Drawing on the weight of his experience to carve out fresh opportunity, it’s a record that – only at moments, mind you – contains some of his best work.

Deaths is punchy and economical, written under the pressure of looming deadlines. But even then, it doesn’t abandon the literary and experimental sensibilities developed on the band’s previous records.

Dissolve is a fine album for the time being, but it has a built-in sell by date and TUSKS may well want to diversify before the tide changes and she's left gasping on the shore.

To take influences from so many places, whilst still being as focused as 'Skin' is no mean feat and while it can be hard to define the line between the worlds the band traverse, no one else out there is walking that line right now as well as they do.

Acolyte may infuriate dance purists with its naive inflections but for more pop orientated people it's a fun, if somewhat formulaic start to the decade.

Heartfelt, impassioned and sincere, Mona are reaching for the skies--and taking you with them!

Admittedly it’s hardly a new approach of lyricism, but when something classic is done well it’s hard to discredit.

It’s not a perfect album, though. The vocals effects on ‘Kick You When You’re Down’ are more than a little grating, while ‘No Man’s Land’ feels stodgy, at times even like a chore. That being said, there is quite simply no other group on the planet who can match AC/DC at their best.

The album not only delivers O’Connor's signature use of bubbly synths, electric pianos and programmed beats that instantly make you feel good, but it also serves as a lesson on learning how to heal and move on.

Shorn of that album’s [Forever Blue] voluminous post-rock textures, Williams’ deft playing provides a delicate yet ornate framework for her voice to soar, lending new tenderness to erstwhile grandiose rockers by Deftones and Smashing Pumpkins, while squeezing even more pathos from The Cure’s mighty ‘Lovesong’.

Recorded across Paris and London, the blend of cultures bleeds into the debut’s roots, lacing bilingual lines with effortless Parisian confidence and the harder-edged energy of London’s clubbing scene.

Although vibrant and adventurous, the end result is too overcrowded on ‘Silver’ – some trimming, and there’s a classic here.

The firm foundation of the songs can be, at times, a little monotonous, a listening experience that not even the more jazzy guitar work can save. That being said, the band still oozes of swanky confidence.

This may not be their defining album, but you get the sense that in moving away from their punkier roots, La Sera’s best work may be just around the corner.

There are times where the album is inconsistent; the beats aren't as addictive on 'Rhythm Is All You Can Dance'. The album is at its strongest when it bravely introduces seemingly incompatible music styles to each other.

The execution doesn’t always match the scale of its creator’s ambition but ‘Gemini Rights’ is a time capsule of Lacy’s metier right now, and you get the sense he’s one or two masterstrokes away from a classic that will be distinctly his own.

As the tracks progress along the album, they get better and better, and more experimental too. These are tracks which have been made to be played in arenas with their throwback influences.

It’s all over the place stylistically, but then no one ever said that feelings had to make sense.

While she might play it safe as far as messages are concerned--generally exploring relationships--her metaphoric representation of them somehow manage to keep the oft-played theme quite fresh.

It's clearer now than ever that Earl Sweatshirt doesn't care for your expectations, and that he's at his brilliant best when refusing to cater to them.

Whilst ‘Lobes’ doesn’t reinvent the lobe shaped wheel, this is an effervescent funk-laden album which will certainly brighten up those dark January evenings thanks to its soaring choruses and memorable melodies.

In fairness, we have heard the duelling solos, galloping Guitar riffs and Dickinson’s operatic Rock vocals all before, in that sense there’s nothing particularly new in form of style (but that’s no bad omen). Upon The Book of Souls the band do, however, sound tighter than ever, offering a raw atmosphere that makes the album sound as though it was almost written in order to be played live.

Shelter is a haven that tugs you out of your comfort zone.

Sadly, co-producer Rick Rubin’s minimalist philosophy stifles many of the tracks. ... When the album does decide to break free, however, the results are stunning.

If Plaza doesn’t wholly satisfy from start to finish, it’s more than a mere transitional album. Call it a pathway forward that’s anything but straightforward, and is all the more beguiling because of its asymmetrical digressions.

Overall, ‘Such Pretty Forks In The Road’ is relatable in parts and uninspired in others but for a few key moments of simple brilliance it’s worth a listen.

So yes, different to "Made In The Dark" but a more cohesive and more heartfelt effort too. One Life Stand sees Hot Chip let us into their hearts as well as their thoughts.

Always accompanied by her impressive soulful vocals, Lola Young wholeheartedly bares her soul on this album, leaving no stone unturned and no topic unaddressed.

By final track ‘wasting’ the band have taken you on a long, winding journey – not all of it sticks, but the best material here ranks alongside Goat Girl’s finest work.

It’s okay that this seventh album has no obvious breakout or festival showstopper.

There's certainly a harder edge to the sound, yet the songwriting is the key, with a set of tunes commercial enough to sucker you in, yet complex enough to maintain interest.

Armed with rich, booming backdrops, live analogue beats and rising string flourishes, she works the ever-awkward business of injecting nods to the sensitive and self-referential expertly, her words coming across more contemplative than indulgently pious... A solid return.

He’s managed to successfully replicate the feeling of genuine emotion and human connection that drew listeners to him and his music on his first album, with his second likely to be just as prosperous.

A lot of Seasick Steve’s appeal comes from this good bloke aura, a bearded Buddha of the dustbowl, drawing in fans who might otherwise run a mile from his basic, grizzled music but there’s no denying the wonderful simplicity yet wholly enveloping of his music.

‘The Bridge’ is so much more than a clever concept album, there are links between each of the songs and the prolific musician takes to the theme like a duck to water (sorry!) and whilst water is the common denominator, it is really about connection - connection between people, life and death and more.

At times the new record sounds utterly sublime, particularly on a sweeping opening trio of lead single ‘Another Youth’, ‘Difference’, and the career-highlight drive of ‘Drowsy’, and though there’s the occasional hint of MOR, for the most part the group stay well clear of being ordinary.

Except for two electronic led numbers that become more of a slog than a celebration, Gwenno has once again married the otherworldly with the primal with supreme effect. Another contemporary Cornish treat.

Some of Ghetto Madness hasn’t dated well, yet elsewhere it’s upfront and out the gutter stature gives prudes and purists the finger.

(04:30) Idler is his confident, self-assured follow-up. Sonically, Isaac appears completely comfortable in his slightly more refined new skin.

What follows isn’t a retreat, however, but more of a re-entrenchment, a record that tackles aging, loss, and reconciliation. It's not without surprises.

An undeniably innovative slant lies at the forefront of this LP, as well as a warming glow to soundtrack impending winter nights.

Their newest newscast is a record that simultaneously could take you anywhere, yet doesn’t really go anywhere at all; its strength is just being there.

While this fifth album contains icier, rather Fever Ray inspired electronic soundscapes, frontman Paul Smith’s eccentric tales of nocturnal sports and deceased poets are mostly backed by the angular pop production fans of this band have come to expect.

The band's insistence on shouty, over-the-top moments like 'Pacific Time' or 'Mr. Wrong' still grates, but this is offset by the likes of 'City Storms', 'Summer Of Chances' and 'Different Angles', which possess some of the most urgent pop hooks and catchy anthemic choruses The Cribs have ever delivered.

While these musicians have no problem coming together to craft a solid, emotional record, the sound is far from being their own.

The net result, a tapestry through dark alleys and along river banks, makes for an entertaining listening journey.

The instrumentation and guitar playing in particular can sometimes feel like a serenade, to encapsulate such place and time easily lends credit to the talent of this songwriter and all of a sudden, you are a sundowner too.

A record with a message that is so authentically her that almost has no other way but to convey a bright but somewhat melancholic future.

For the most of Friends, though, this is White Lies doing what they do best. There are huge choruses, soaring, ethereal melodies and that distinctively glistening ‘80s production. However, you suspect their formula may need to be tweaked substantially if the band are to avoid self-parody or burning out in the future.

Jeez, it’s long, and there are some missteps, some ill-advised detours, along his peregrinations, but all in all, it’s worth coming along for the ride.

‘GLORIOUS’ is a trim 15 tracks, offering 42 minutes of music. Chopping away the excess, what’s left is bold, colourful, and attention-seeking – brash, but not subtle.

Dan Carey – Speedy Wunderground head honcho and producer of Fontaines D.C. amongst many others – helms the boards for this record, and sonically it feels richer, with more depth than its predecessors. .... That said, some of the cartoonish aspects of Kneecap’s past remain firmly fixed in place.

A refined 10 song document that cycles through moods and tones, ‘This Is Really Going To Hurt’ is perhaps the finest example yet of Flyte’s undoubted artistry, and offers yet more proof that they remain one of the country’s most underrated groups.

The Godfather of cool retains his title!

Wistful and plaintive, solemn yet blissful, these are songs from another time - if not another planet - and their mesmerising melodies have the powerful ability to transport you, temporally and spatially, into the band's anachronistic, peaceful, eternal summer.

If 2022 album ‘The Alchemist’s Euphoria’ represented a clearing of the decks, a shake-up from top to the bottom, then ‘Happenings’ continues this process. As times, it feels as though you’re caught in a snow-globe, being shaken up and down, from side to side – watching the pieces fall is a thrilling experience.

There are layers upon layers of glorious melodies and hooks here; you just need to spend the time to find the ones that work for you.

The sonic palette may be familiar, but the strength of songwriting indicates that September Girls might, just might, be capable of pushing past this.

It's a win for the bedroom door-locking crew.

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.

With 22 tracks it’s self-evident that not everything lands – skits have always been a subject of debate to rap fans, and while some of the miniatures on ‘Supreme Clientele 2’ are fun, there’s a tad too many.

Refining rather than challenging their boundaries, Fucked Up reconnect with the sounds that first set their pulses racing. Glass Boys is a gloriously savage return.

It’s a fine collection of intimate, slow-burning, understated songs.

Egypt Station feels like Paul McCartney having a blast being Macca, grasping his own identity, and relishing it--a fun, at times downright bold, return it’s something fans will cherish.

For the first time, it's Bleeker's most mature output yet and solid terra firma for fully realizing the group as a band in its own right rather than a mere side hobby.

Featuring a host of Daptone Records talent (Lee Fields & The Expressions, Menahan Street Band) the album’s eleven numbers are a confident walk through the finest examples of soul instrumentals and stands a great homage to the best releases of Cadet, Stax or Hi.

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

There's enough promise and originality within the current scene to merit considerable credibility.

Recorded in Reykjavík with Sigur Rós collaborator Alex Somers and Múm’s Samuli Kosminen, the frosty twinkles and skittery beats complement Rhode Island-based Thibadeau’s alt-folk leanings.

The diverse range of music on offer is second to none, but in certain ways acts as an Achilles heel of the record, the competing genres feel cluttered, never quite firmly settling on a succinct sound. That said, this body of work is strictly feel-good and reinforces the promise behind Duckwrth’s major label debut.

Quick on the draw, Beans bosses a bite-sized blitz of syllable practice.

It’s studied, sure--these guys are superbly technically proficient--but never is the fun obscured by fretwork pyrotechnics.

It’s not a record that will dazzle anyone into any great epiphany, but while its on, you’ll be sure to find yourself charmed by the obvious sincerity of it all.