‘Everybody Needs A Hero ’continues Gartland’s signature storytelling style but pushes her artistry in new intriguing directions, one that is sure to leave fans satisfied.

As righteously indignant and vital as ever, ‘Come Ahead’ is another high in a career full of them.

While ‘Eternal Atake 2’ may be content to live in 2020, the rest of the rap world has moved on. Although far from terrible, ‘Eternal Atake 2’ seems to exhibit more signs of the Lil Uzi Vert tail-off – the quality control has dimmed, and the sense of direction exhibited on their early work has waned.

Able to speak her truth, ‘What A Relief’ is a valuable insight into a profound creative talent, and a gorgeous listen.

It’s cinematic and magical and stands as some of Fionn’s most captivating and compelling work to date.

The colour of ‘Chromakopia’ resides in the album’s grooves, layered production and immersive penmanship. While some elements feel a bit safe, the sound design is chiseled and sharper, showcasing Tyler, the Creator’s now-mastered style in HD glory. If ‘Chromakopia’ is anything, it’s profoundly human and revealing.

The balance between a distilled identity and a streaming-era leviathan is difficult to find. ‘LYFESTYLE’ is a huge in scope, but that can mean it becomes repetitive – in particular, the record’s mid-arc falls flat, with songs like ‘ON 1’ feeling as though they’ve been constructed to fulfil aesthetic obligation. That said, Yeat clearly isn’t making music for critics. ‘LYFESTYLE’ is for the fans.

‘The Night the Zombies Came’ isn’t an album for the uninspired or your average Joe – it’s a bible for the daydreaming visionary who finds beauty in the mundane.

This is a record that, fittingly, rewards the repeat listener as its impact evolves.

‘The Great Impersonator’ is both deeply personal and sharply relevant to wider pop culture, quietly contributing to conversations being had by, and about, Chappell Roan, as well as those that have followed the death of Liam Payne.

Longing and levity substantiate the expansive cosmic realms of ‘Pomegranate’, where joy and exuberance draw you deeper into her sonic world with husky vocals and shimmering instrumentals.

With a rich string chorus that runs through the final track and the songs preceding it, Soccer Mommy has created a dream-filled escape that always falls back to the present.

Amyl and Sniffers have released the album of the year. .... The record speaks as a journey of a woman finding her own worth whether that be in life, relationships or career, and it’s here to inspire you to do the same.

‘3AM (LA LA LA)’ is Confidence Man at their raviest, their naughtiest, their most confident.

Much of ‘Dreamstate’ feels shinier than its predecessors, replacing the dingy basement feel with hands-up, festival euphoria.

‘Tension II’ is embedded in Kylie’s more up-front pop tendencies. That’s no bad thing – she’s the best around, after all – but it does make the project feel a little slim in places.

‘Fate & Alcohol’ is also the closest they have ever come to perfecting their own sound.

‘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.

With ‘Songs Of A Lost World,’ The Cure has not only produced something worth the wait but added another classic to their already sterling catalogue. This is a late-career gem from one of the world’s most idiosyncratic acts.

Greep’s love of music – from Brazilian legends Egberto Gismonti and Naná Vasconcelos to the avant-rock ventures of his former band and Brixton brethren – strikes out of the album with an incredible force.

‘Excuse Me’ takes us back to the heavy, aggressive punk sound of their viral debut single, while on ‘All In My Head’ they return to the sweeter pop-punk of their debut.

As after parties go, ‘brat and it’s completely different but also still brat’ is one for the books.

The Atlanta rapper is just too slick, too fast-moving, and too good to truly bring down. ‘Mixtape Pluto’ offers ample evidence to his continuing singular form of genius.

A succinct declaration of independence, ‘Formula OneDa’ finds the Manchester rapper nailing down her testament – she implores you to listen.

Brimming with sensory overwhelm, ‘GOAT’ re-affirms the mysterious Swedes as being one of the finest vassals for truly forward-thinking psychedelia traversing inner and outer worlds this century.

Some of the punkier elements of old are fighting with the grandeur aims of the future. At a time when a new generation of artists is doing inventive things to revitalise guitar music once more, two minutes of snot-nosed punk riffs don’t hold the same sway they once did.

‘It’s Nothing’ is a good old-fashioned album in the best sense: 10 tracks, each well crafted and strong enough to stand alone, combined into a coherent whole.

This second studio effort from FINNEAS is less experimental than the 2021 debut ‘Optimist’, but has more of a direction, even if said direction becomes a little formulaic toward the latter half of the record.

By getting back to what he does best, this is a sizeable step in the right direction, with ‘A Modern Day Distraction’ easily his most well-rounded project since his beloved debut.

‘Stream of Life’ is a reflective, uplifting and intelligent album that stands out in the Maxïmo Park canon and is full of texture, soaring melodies and sagacious storytelling and lyrics.

With its polished sound and central themes of love, appreciation, and reflection, ‘Leon’ is a must-listen for fans of smooth and sonorous soul music.

Throughout this record, the sense of adventure and excitement is palpable – this is a band at the peak of their powers, having fun creating; it’s hard not to get caught up in such a truly unique and thrilling journey through the cosmos. If death metal hasn’t yet had its breakthrough critical moment, this might well be it.

It’s a compelling work that just takes over, in the best possible way.

With its intricate production, mesmerising melodies, dynamism and scope, ‘Honey’ is no doubt a stellar addition to Caribou’s catalogue.

This band is having a ball, that much is plain. It’s a danceable album, upbeat in tone basically all the way through. On ‘Zero Sum’ especially, it all starts to pop off – savour the evergreen treat that is Thom Yorke being a snarky little so-and-so over a raging fucking bop. You love to see it. The slow number, ‘Tiptoe’, is absolutely gorgeous.

Through Hayden, Ness Speaks – and it’s quite unlike anything else you’ll hear all year.

It reminds us of the power of love, hope and indeed music can overcome those dark days and the importance of trusting in the universe and more importantly yourself.

A quite singular record from a singular voice, ‘Dunya’ is testament to the strength of Mustafa’s ambitions, and his desire to be heard.

‘Below A Massive Dark Land’ reinforces the gravitas of her songwriting. A beautiful record dominated by fading light and ominous shadows, it could well be your perfect Autumn soundtrack.

Fun, and wildly over-the-top, ‘Harlequin’ scratches an itch for both fan and artist.

If there are fans who aren’t into this solo album, that’s OK, you still have his 2006 ‘Solo Guitar’ album to listen to, but for those of us who are into ‘White Roses, My God’ there is plenty to engage with. Grief has never sounded so captivating.

Whilst her talent has been evident in previous releases, there’s something in ‘My Method Actor’ that sees her stand taller, more certain. Yanya’s movements feel deliberate, smooth. An effortless transition from one song to the next, as if telling a story passed on to her, that she now gifts to you.

‘Real Deal’ is more mature, both in sound and lyrically, leaving behind the blushing self-consciousness found on their self-titled debut with tracks like ‘Female Lead’ and ‘Creative Jealousy’.

Love, heartbreak, growing up, and self-discovery are the ingredients to this emotional rollercoaster of a cocktail, and it’s simply beautiful.

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.

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.

‘Endlessness’ is a remarkable record, a project that borrows from dozens of voices while communicating in only one. Somehow eclipsing the magic inherent in her debut, ‘Endlessness’ finds Nala Sinephro operating in a creative universe of her own.

Closing with the beatific ‘Ablaze’ – with sonic shades of John Martyn’s crepuscular ‘Small Hours’ – ‘Casade’ made lack the breathless ambition of Floating Points’ orchestral manoeuvres, but that’s not its purpose. A resetting of the dials, it transplants the producer from symphony hall to sweaty club, and that alone makes it truly vital.

As Herbie Hancock so rightly put it, “jazz is about being in the moment” and jazz weaves through Nubya Garcia’s ‘Odyssey’. So, press play and sit back – close your eyes and soak it in.

A brash dose of colour for a drab post-Millennial pop scene, she was the bulldozer through the critics doors. On ‘143’ however, there’s a feeling that the world has moved on – with Chappell Roan’s tour sparking Beatlemania-esque scenes of adoration and Sabrina Carpenter maintaining a stranglehold on the charts, you struggle to see where this playful yet unsatisfying record fits into pop’s firmament.

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.

‘Someday, Now’ is a pretty perfect progression from ‘Return.’ It’s bolder, more individual, and, dare we say, more fun. Wonky indie-pop that’s built to soundtrack these strange days we find ourselves in.

An illustrious tour de force, this is experimental music that balances what’s classic, classy and cool.

For those seeking solace, joy, or pure emotional catharsis, Jamie xx has delivered a masterpiece that will linger long after the last beat fades.

It is an unpredictable and highly eclectic listen packed full of depth and textures making this a must listen.

An ever-shifting, yet cohesive addition to a stacked discography, this new album may surprise listeners at first – but will ultimately sit as a pivotal, guiding light in the music of Toro y Moi.

I genuinely mean that as a compliment: music doesn’t always have to be hard work, and Richter’s latest offering, ‘In A Landscape’, feels like the opposite of work.

In short; ‘Rack’ is everything you could want from a new The Jesus Lizard record, with some extra musical chops and lyrical smarts thrown in. This great band might be growing old, but they’ve not lost a speck of their singular crazed brilliance.

Does ‘ten days’ elevate the modern dance album? It unequivocally does. It’s built from connection and collaboration. It explores the contours of the dancefloor whilst never forgoing its gushy, human centre.

Inevitably there might be some that call The Heavy Heavy overtly nostalgic but when they are capable of producing such beautiful and layered tracks, it is hard not to be swept along by the band’s tightness and breadth.

For all its colour and intensity, there’s breadth here, too.

The result defies expectations in the best possible way.

Blurring the lines between inner and outer worlds, ‘Manning Fireworks’ is a powerful achievement, one that deserves to last.

Tastefully rambunctious, ‘What’s Wrong With New York?’ is a sonic melting pot of millennial and Gen Z sounds. With retro drums and abrasive synth bases, it’s a performance-geared record filled with pulsating bass lines, perfect for making bad decisions in a sweaty basement.

Despite its teething issues, ‘Alligator Bites Never Heal’ offers Doechii enough dimension and versatility to cover all the bases, geared towards a spectacular live performance.

Tracks like the Bonobo-esque ‘Green’ are properly lovely, and wholly capture an air of sun-setting, downtempo chill that you’d have to be stony hearted not to enjoy spending time in. If there’s a downside, it’s that a couple of tracks sack off the sense of seductive, textured chill in favour of some prosaic ideas and unfortunate reference points.

It’s a slight, undemanding effort, and there’s charm to be found if you’re willing to meet the band halfway.

‘Amelia’ is this a towering work of artistic endeavour and creative genius which comfortably ranks as one of Anderson’s most definitive statements yet.

There’s a quiet, steady faith apparent in ‘Wild God’, a simple wonder that feels unique in modern songwriting, a beatific glow that lingers after the final lights have been switched off.

With a hefty 17-track structure, ‘Sugar Honey Iced Tea’ is held together by its towering moments.

‘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.

It’s a stunning record, one of depth but also immediacy; it exists to be adored.

Taken in one sitting, ‘A Firmer Hand’ is a dense and often heavy album that nevertheless contains depths of melodicism, wit and meaning that only become apparent with repeated listens.

‘Paradise State of Mind’ is a coming-of-age record, a band lyrically at the peak of the powers who will take you somewhere to ponder and dance in another dimension.

At times struggling beneath its own weight, ‘F-1 Trillion’ is a love letter to the genre.

This album is fantastic and – as CLASH noted up top – you can easily compare this album to releases from the successful groups around the 1990’s/2000’s in this genre..

86TVs are a band whose debut album is the sums of its parts; whose formidable past endeavours including The Maccabees have helped cultivate a distinctive sound today which promises to deliver more in their bright future ahead.

Moving with intention, embracing emotion, it’s often strikingly autobiographical, paired to music that is rich in her melodic gifts, while quietly evolutionary.

Come for the headlines, but stay for the below-the-bar thrills. ‘I LAY DOWN MY LIFE FOR YOU’ is in turns earnest and surreal, confusing and pristine.

‘Michael & The Mighty Midnight Revival: Songs For Sinners And Saints’ may be unwieldy, but its inviting, and has so much to explore.

For those who weren’t able to attend or for those who wanted a cheeky throwback to watching the gig that night, ‘blur Live at Wembley Stadium’ is an exhilarating celebration of the band’s barnstorming gig on the Sunday night.

Album thirteen not only acts as the best thing The Pumpkins has released in over a decade but also an exciting indicator of things hopefully to come – a welcome surprise from one of rocks most unpredictable acts.

It is a coming-of-age record that evidences Abbie’s musical and personal growth and announces her as one of the country’s most exciting new indie pop songwriters.

The diverging styles can at times be overbearing but there is a sense of freshness and bold shifts that is hard not to appreciate and it will be interesting to see how their style evolves.

‘SMILE! :D’ is a personal album with nostalgic sounds and is more chaotic than cohesive, which seems intentional in order to reflect Porter’s ranging emotions. This cathartic album is some of his best work yet.

Overall, ‘ASK THAT GOD’, is a journey in every sense providing enough density and style changes to keep listeners intrigued to the very end.

Even with its compact 10 tracks, however, not everything here connects. ‘Think U The Shit (Fart)’ is juvenile in a manner she feels beneath her; the way ‘Gimmie A Light’ crunches that Sean Paul sample feels a little naff – at least until the production cranks it up a notch. There’s enough here, however, to display why so much attention is place on her name.

With his trademark pliability anchored deep beneath the surface, he is able to swerve from garage blues (“A_01,” tentatively) to glimpses of the Raconteurs (“A_03”) to electric folk (“B_02”) with a coherence few can replicate.

‘STARFACE’ has the confidence of an artist with far more renown like (dare I say!) Bowie or Prince. There isn’t much filler here, as each song leaps into 4D with a psychedelic, soulful soundscape that’ll take you to space.

‘HEAVY JELLY’ is wilder, faster, heavier, more frenetic, and downright hilarious that anything they’ve done together before. Both cartoonish and extreme, it’s a cycle of songs that are both heavy duty and utterly ridiculous.

‘I Love You So F***ing Much’ is a bold return from Glass Animals, at times it feels that the concept slightly overpowers the album, but overall it’s a confident and well-crafted album that feels like it could be front and centre of an eclectic sci-fi soundtrack from the eighties.

All Hell’ is the quintessential Los Campesinos! album. Big, bold and brash, whilst at the same time succeeding in retaining the band’s politics and indeed their humility. .... The band have bared their guts once again, and never, ever has it sounded so good.

This record feels like the perfect summation of Childish Gambino’s always-on, internet-driven data-overload experimentation. It’s a work of maturity and vision, out-pacing his peers to deliver something vital, and true to himself.

Distinct from his 2022 debut ‘Rave & Roses’, this feels uncompromising, and new. ‘HEIS’ is the work of an artist emboldened, and undimmed.

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.

‘Nothing or Something to Die For’ isn’t an easy listen. This isn’t an album to shuffle into any old playlist. ‘Nothing or Something to Die For’ demands your full attention and doesn’t want to hear your excuses. It’s also not going to be for everyone, but it knows that.

Without a single skip, Cat Burns was able to make a record far greater than what could’ve ever been expected. Yes, it has the impeccable blend of her strong voice, brightly produced ideas, and perfectly curated hits, but it somehow also allowed her to be the voice of a generation.

‘The Death Of Slim Shady (Coup de Grace)’ doesn’t quite feel like an ending, but neither does it feel like a continuation. A mixed, often muddled album, it features some of Eminem’s best rapping in a decade – those fast, skippy-yet-intricate flows will never fail to thrill – but his pen is often blunted. It’s at once an effective piece of fan service, while also being a record that disappoints.