A distinctive, nigh-on unique listen, ‘Isn’t It Now?’ is a fine experimental broth for Autumn listens.

Most of ‘Halo’ was sculpted on the road, a moment of pause and introspection that affords Bakar space to surge forwards creatively.

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

Her balladry is simple, sparse, unfeigned and unpretentious, and her torch songs smoulder like burning embers.

She questions, she purges, she excavates and embraces the thorny contradictions of her life. Smith continues to shirk commercial viability, stripping away sheen and artifice, presenting herself as dimensional; flawed, bruised, exposed, at times disbelieving, but ultimately worthy of love.

‘Cousin’ is the perfect entry point for those who have inexplicably escaped the shadow of the Wilco’s influence to date. Showcasing all they do best it is also unique enough to stand as one of their finest moments.

On ‘Sorry I’m Late’, Mae Muller shows that it takes time to perfect and craft a great pop album and that’s what she has done here. Every track could be, and probably should be, a single.

A celebration of what makes Teenage Fanclub great, it’s a finely balanced LP of under-stated charms. ‘Nothing Lasts Forever’ they say – except, perhaps, for Teenage Fanclub.

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.

A thoroughly worthwhile listen for ambient fans that value a narrative.

The chilled, languorous template delivers on value, but offers little else and you can’t help but feel like these are unnecessary filler tracks. At its core, ‘Scarlet’ is an interesting exploration into the world of ego trips, the trappings of fame, escapism and novelty, a welcome deviation with a heightened sense of maturity and finesse.

If you’re looking for an album to brighten your day, come enter the world of CHAI.

A genuine thrill from an artist who could rest on her nostalgia laurels, Kylie is back for her well-deserved crown.

‘Black Classical Music’ is a unique experience, a true journey, the musical autobiography of a musician central to the ongoing development of UK jazz.

‘Sorry I Haven’t Called’, brings out the best dance music has to offer because although Vagabon’s music is soft-indie-pop at its core, she has somehow captured an intrinsically heavenly sphere throughout the twelve tracks, making it the best record to keep a tiny bit of summer inside of us as the autumnal air is taking over the outside world.

A hugely impressive, frequently stunning return, ‘Black Rainbows’ ranks as one of the year’s most imposing comebacks.

Often melodically startling, the work contained therein feels close to definitive – if you’ve ever thought to explore their work, but not had the chance, this is the perfect entry point.

The National are closer than ever, the type of closeness that allows individual growth, and this organic coming together is reflected in the collection of songs on ‘Laugh Track.’ Music that will no doubt stand the test of time.

It may be a lighthearted exercise in updating old pop bangers to suit a new style, Lovato’s career-spanning retelling is also an unexpectedly touching retrospective by the time it gets to the explosive rendition of ‘Don’t Forget’ that serve as a joyful end-credits.

Reaching greater and greater heights, ‘Magic 3’ could well be Nas and Hit-Boy’s finest hour together – the closure of this chapter allows us to analysis their relationship, but you’re still left yearning for more.

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.

It feels as though experimentation was at the centre of this record, with digital soundbites and electronic instruments at the forefront of many of the tunes, yet still beautifully intertwined with the traditional line up.

‘The Land Is Inhospitable And So Are We’ is Mitski at her most emotionally raw.

NLE Choppa has his sights on the prize, and he’s armed with some career-best material. Without doubt his finest project yet, ‘Cottonwood 2’ pushes NLE Choppa into the upper echelons of Stateside rap. Next stop? The world.

What ‘Perfect Saviors’ succeeds in, however, it exploding those aspects ever outwards, renewing The Armed and emboldening their most ambitious, rewarding album to date.

‘How Do You Sleep At Night?’ is a solid debut, a multifaceted foundation that Teezo Touchdown is sure to spring from. The record boasts some great production and a genre-less style that for some may lack cohesion, but on a debut record like this it allows Teezo to follow any sonic path he desires in the future.

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

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 concept enhances the experience but ignorance of it doesn’t affect it as one of The Coral’s strengths has always been the powerful imagery their music creates.

Olivia Rodrigo has created another fun, varied and mature studio album, which perfectly contributes to her wider attempt to preserve her experiences as a teenager within her music.

‘Playing Robots’ finds Blake not quite knowing how to juggle all these facets of his personality and throwing them all at the wall. There are flashes of gorgeous phrasing, incredible textures, and welcome experimentation, but the album is also completely all over the place. Still, Blake remains undeniably talented as a singer, songwriter and producer.

‘Rabbit Rabbit’ is a joyful listen. Its refusal to follow the norms is an inspiration, and an attempt at an act of defiance in an age when it is becoming harder and harder to go against the grain.

It’s a project that requires time to sit and grow with its listener, carving a new path after each and every run.

Transcendental, life affirming and exhilarating, ‘For That Beautiful Feeling’ is pure unadulterated sensory overload and is a strong return for the shape-shifting electronic duo.

‘Hit Parade’ is as colourful and playful as Róisín Murphy herself. Truly a contender for album of the year, Murphy has created an album of true musical depth that doesn’t take itself too seriously.

This is an album to get lost in. Rosenstock is one of the most important songwriters working, in any genre, at the moment. You’ll love exploring ‘HELLMODE’ like Craig in his creek.

Enchanting and illuminating, ‘everything is alive’ proves that Slowdive’s pulse is still beating strong.

Together, this project might rank as a career high, a work of breathless yet intoxicatingly accessible complexity.

Healey has delivered the ideal summer album, but it feels as much a gift to himself as his listeners.

‘Jaguar II’ is a compressed listen with only 11 tracks but still packs in dimensionality and texture. It marks a new pinnacle and a denouement of an era for a once clandestine figure now dancing under the prismatic light of a disco ball.

‘Mommy’ is not an evolution for Be Your Own Pet, it is an affirmation that despite the passing of time, we can still be just as vital as our former selves.

In the end, ‘Rocket Power’ isn’t perfect, but it’s definitely rewarding.

‘Learning How To Live And Let Go’ is a beautiful culmination in the XCERTS’ career.

An incredibly engaging and somewhat out-of-body listening experience.

An album of subtle transformation, there’s much to cherish here.

Refusing to take the easy route, ‘Sundial’ can at times be daunting, and the task of following the profound success of her earlier work isn’t an easy one. On repeated listens, however, the project breaks open as a singular work of Black American artistry.

[His albums] are normally produced to the hilt, but here Neil Young sounds more vulnerable than he normally does, and this makes the songs more immediate and personal.

A focussed, unified return, ‘Volcano’ doffs its cap to some supreme influences, while also allowing Jungle to expand, and evolve. Soulful songwriting with a thirst for house and disco, it finds the production duo amplifying their ambitions, and finessing their techniques across a cycle of exceptionally strong songwriting.

In truth, the material does a decent enough job of filling the acerbic, punk shaped void left since their decade long absence.

These charmingly often positive tales are inspiring, yet it’s the combined nature which the producing delivers that makes this album shine.

Devoted followers of Miles Kane and fans of indie music will undoubtedly revel in this fifth offering, undoubtedly finding exhilaration through its live interpretations. But beyond that, it falls short of finding a remarkable status.

‘Prestige’ is an album guaranteed to soundtrack some upcoming sunny days, imbued with fun and genuine passion in equal measure.

‘Euphoric’ sits as a colourful sideways step from a talent we’ve long since learned to cherish.

The brevity doesn’t downplay the creativity. A stunning four-track feast, the only downside is that we don’t hear more from such a formidable cast.

You’re left wondering what impact ‘AUSTIN’ will have on his fans, and on Post Malone’s future work. Is this a one-off deviation, a resetting of the dials? Or will these acoustic templates become his bedrock? Whatever the future holds, this is an album that dares to buck trends, and at its best can be genuinely moving.

Succinct, tightly wound, and often explosive, ‘Magic 2’ adds further ammunition to his remarkable late career high.

A record that stretches the boundaries, ‘UTOPIA’ feels like his finest hour.

On ‘Sunburn’, the American songwriter sounds the most comfortable he ever has, and as a result this sophomore record carves out his own space in the music world.

Overall, a pleasantly harmless album with some clear highlights. However, it will be interesting to see how the US singer varies her work as she begins her solo career.

Held together by a singular sense of purpose, ‘The Feminine Divine’ is at times daring, at others anthemic. Both puzzling and entrancing, it refuses to be hemmed in by past success, reaching out instead for new challenges.

‘Love Hallucination’ is further evidence she’s now one of the label’s strongest artists, and also one of the most consistent creators of the past ten years. She may have slowly left her bedroom and found her way into the club, but Jessy Lanza continues to produce intimate moments you can get lost in.

Snõõper have succeeded in creating an album that celebrates the joy of live music, while not sacrificing any of their energy, originality or fun in the process.

Tense, manic strings chop away at the languid celebration, presaging a gathering storm of noise that reaches its peak only to be plunged abruptly into silence. No neat resolutions here, folks. Onwards.

There’s still the trademark sass and joie de vivre throughout, but this feels like a more mature and evolved body of work from Rita who has shed her skin to show some vulnerability and creativity than before.

He’s deftly left himself room to manoeuvre, but at this rate, there’s a hyperpop throne with his name on it.

Claud’s ability to create earnest, anecdotal songs ensures ‘Supermodels’ is not just a queer-pop triumph but a universal one.

‘Beautiful and Brutal Yard‘ sees the Uju Militer remind us why he’s so adored. ‘Intro’ finds Hus sounding rejuvenated and full of new source material.

A glittering gem amongst recent releases, ‘IRL’ sees Mahalia defining herself as a long-standing name within British RnB.

Only their most dogged of fans would have expected such brilliance – this lengthy, thrill-a-minute release could well be their finest moment.

Although fans are nostalgically pining for the innocent, youthful sound of her voice from her early albums, there’s no questioning that she has a more controlled and comfortable vocal ability now.

‘Slugs of Love’ manages to evade repetition and monotony despite their stripped-back demeanour – resulting in a record residing in sensual sophistication and ease.

The closing run of tracks on the album are some of the most musically interesting she has released to date.

Theatrical and majestic, ANOHNI’s supple world-building acts as a mirror to her soul – ‘My Back Was A Bridge For You To Cross’ may well be her masterpiece.

A bold, impressive debut offering, it finds the songwriter’s perfectionist streak paying off.

While one of her least immediate records, it stands as one of her most rewarding.

‘Snake Sideways’ is a culmination of all of Do Nothing’s talents, and a great debut album which is perfect for the live setting – where the band thrives.

Overall, this is peak John Carroll Kirby and, dare I say, his strongest album to date. It hits all the points you want, and then some.

‘The Good Witch’ is a dazzling little record that is as entertaining to listen to as it sounds like it was for Peters to make.

A thrilling return, ‘I Don’t Know’ finds bdrmm breaking down the walls around them to claim a space of pure freedom.

Hopefully we won’t have long to wait for the next instalment but before that let’s just bask in the beauty of this beautiful album.

‘All Her Plans’ is a triumph, a record that will certainly send these Aussie rockers to soaring new heights.

While it might not be as cohesive as some of his previous work, ‘Is It?’ is a beautiful reconciliation, revelling in making something from a place of struggle.

Locating solace in his craft, Gunna pushes himself to the limit on an album that somehow finds focus amid the chaos

‘Further Out Than The Edge’ is a creatively rich and inspiring debut from Speakers Corner Quartet, an emblem of their sixteen years spent together as a community of musicians.

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.

Sigur Ros’ world-building abilities haven’t been dulled by a decade of group inactivity – each moment is laden with colour, and mood.

With ‘In Times New Roman…’ Homme and co. have crafted a darkly seductive return, an intoxicating psychedelic record that drips with equal parts malice and renewal. It’s good to have them back.

Packing so much in comes at the risk of a more diluted sound and an album which lacks a strong sense of cohesive unity. This is most apparent in the first two ‘planets’, where the result is a little muddled. When not biting off more than they can chew by integrating three entirely different featured artists within a five track part (see ‘Off Planet Part 1’), the album is a fresh and interesting take on experimental electronica.

A record composed of experimental dissonance and slick pop bravery, ‘PARANOÏA, ANGELS, TRUE LOVE’ ranks as the boldest aspect of his career to date. A project that searches for honesty, it places Christine and the Queens in a quite singular lane of alt-pop abstraction.

‘Social Lubrication’ carries all the raw, essential components of what make Dream Wife such a well celebrated act while remaining remarkably self-assured and polished, even if the trio don’t greatly expand on their recognised formula.

The oft-explored worldwide sensualist feels newly alive here, ‘Fountain Baby’ a prime exemplar of mind-expanding afro-pop alchemy that revivifies the weary spirit.

‘Joy’All’ finds Jenny Lewis chasing her instincts, working with light and energy. On the closer, she warns “if it ain’t right it’s wrong…” – on ‘Joy’All’ everything feel’s right.

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.

No less inviting than their debut, while asserting its own identity at every corner, ‘O Monolith’ is a fine second album.

Overall, this is undoubtedly Niall Horan’s finest and most mature album to date – and was certainly worth the wait.

The album marks itself as one of the most special and singular of the year and beyond. With a cohesive tone of lysergic, hypnagogic soupiness, yet plenty of variety, the genre traversal is almost seamless. The only major struggle from ‘partygatorpurgatory’ is the impatience induced in waiting for more.

Never afraid to show both sides of the coin, this LP is powerful as he spits about hardships, politics, love and more; constantly referring to the title, he proves that not only is real rap back in style but so is realness.

He also writes with a newfound lens, new experience, with his fascination of the space between cities coming through in technicolour on this record. The also never-ending sonic exploration is continually excellent, ‘Space Heavy’ being just as eclectic as it is cohesive.