‘Heavy Heavy’ sees them fully marry their two sides; is this a very fun album from a very serious band, or a very serious album from a very fun band? Why not both? Young Fathers can have it both ways.

At 57 years old, a more than successful career in the music industry and an army of fans behind her, Mrs. Twain would well be within her right to hang up her boots, but she has certainly left us wanting more with ‘Queen Of Me’.

‘The WAEVE’ being a unique experience, bathed in a bold richness and brilliantly indulgent productions.

In her haste to tell her story, ‘My 21stCentury Blues’ suffers from a frenzied second half that cushions the gut-punch it could have been.

There are moments of meandering musicality, and uncertain songcraft. That said, there’s plenty in here to soak up – from its title out, ‘Let’s Start Here’ seems to point to a fresh beginning for Lil Yachty.

SG’s talent as a producer, multi-instrumentalist and vocalist is undeniable, and it’s on these less predictable tunes where he demonstrates the extent of the originality and flair at his fingertips that he shows us his true potential.

Unfailingly imaginative, her return offers another vital chapter in her unfailingly riveting career.

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.

‘Honey’ pivots between lyrical complexity and spartan, but endlessly pretty arrangements.

It’s anthemic, eclectic and is a powerhouse of a record that feels like they are having more fun and giving a more ‘zero fucks’ attitude than ever before and we are here for it!

It contains some of his finest work, and this lengthy package is a profound expansion on the sessions, live shows, and experimentation that took him there. A terrific piece of Dylan lore, for casual fans and Dylanologists alike.

The long-time drummer may be walking hesitantly into the spotlight, but the record carries a softly-spoken sense of confidence. An enriching song cycle, we sincerely hope this is only the start.

Worth the wait for fans. The record balances its psychedelia with more mediative moments offering plenty of variety. This record again shows Auerbach’s musical influences and projects beyond The Black Keys.

‘Living Human Treasure’ is a wonderfully exciting and enjoyable album. Italia 90 have and axe to grind and grind it they do.

‘Five Easy Hot Dogs’ isn’t going to win DeMarco any more fans, nor will it distract from his past triumphs. ... This instrumental offering will, like most of his tunes, act as great company for those who just wanna lay back and disconnect from it all.

‘Bubblegum’ is the most creative, well-thought-out and simply fun project to come out of the UK alt-pop scene in quite some time. Biig Piig continues to improve, every release getting her closer and closer to the stratosphere – and even that won’t stop her rise.

This isn’t mere voguish reinvention but a masterful insertion into the most indecipherable of back catalogues, and its reliably mutable, endlessly wandering creator.

‘Prize’ fully submerges the artist into a unique, eccentric, psychedelic style – allowing her to fully embrace various influences and detach her art from confinements that previous albums may have established.

Exhaustive and exhausting, ‘Rush!’ feels like the definitive word in this unlikely rock phenomenon – at its best, it’s a feral reminder of how entertaining the genre can be.

‘Late Developers’ is a fine piece of pop whimsy, delivered with self-deprecating panache.

‘12’ is not an album to take lightly. It is an album to listen to intently as often as you can. With each listen you learn something about what it takes to be a great artist, Ryuichi Sakamoto is a great artist, but it also teaches us not to take things too seriously because one day it could all be over.

Moss’ vocals and harmonisations with herself are a masterclass, supported by creative and tasteful production. Modular synthesis and glitchy-yet-organic drums are the engine of the record, the outcome being Moss’ best studio effort to date.

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.

It’s a fearless, intricately crafted and sonically expansive body of work that effortlessly showcases why he’s one of the UK’s most talented songwriters.

Though it may not be their most daring record to date, it’s certainly one where they’ve taken most risks, and their blend of indie-rock and electro-pop certainly pays off.

A work of real refinement, ‘The Great White Sea Eagle’ is peppered with jewels.

It’s a statement of intent from Billy Nomates, unbalancing sonic scales and weaving this into a force to be reckoned with.

A remarkable talent, this is an album to cherish.

A vital, thrilling affair, it ranks amongst the best of his solo work.

A record that feels very much like a side-step, ‘Me vs Myself’ contains little of the soul-searching that the title suggests.

This is an album about growth, however messy and non-linear it may be.

‘HEROES & VILLAINS’ bursts with ideas, not all of which land. A record that revels in contradictions, it grasps towards the light while framing itself in darkness.

With his new album RM demonstrates a sense of growth. Weaving throughout each track, RM feels vividly present. Through the inclusion of art combined with the presence of an interpretation of nature, ‘Indigo’ feels calming, relatable and fresh.

Although a rather formidable theme, NNAMDÏ delivers his most succinct and capital P pop album yet.

‘This Is What I Mean’ is a low-key affair, downbeat and introspective. The tracks are intimate in theme as well as production, and it might just be Stormzy’s cohesive and coherent project to date.

‘World Record’ is a thrilling ride through some admittedly familiar pastures. But then, perhaps that simply underlines how potent Neil Young remains, and the increasing resonance of his eco-politics.

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

‘TM’ feels like a classic BROCKHAMPTON record. Immaculate production, genre shapeshifting, and some of the cleanest verses from the group in quite some time. There’s no filler on the record either – just eleven tracks of pure BH instant classics.

‘The Family’ is the perfect BROCKHAMPTON album. It has a flawless balance on energy fuelled moments with more melancholic ones, and the departure in sound from previous efforts makes for a compelling full listen.

This is an album that grows in grandeur with each listen, layers unravelling with every replay.

A fantastically consistent, perpetually illuminating full-length, it shows Nas to retain a hunger, and sheer fire that so many of his peers have lost. Recalling former glories while remaining fixed on the future, ‘The King’s Disease III’ underlines the rapper’s current creative streak.

If anything, however, new album ‘Faith In The Future’ is simply too nice. The songwriting is sturdy and well-formed, leaning on his indie roots – you can hear ghosts of the Gallaghers, whispers of Chris Martin – without ever truly channelling something dangerous, or edgy. ... It just doesn’t raise the pulse, or quicken the blood-flow in a way you might long for.

A brave and open experience, it stands as one of Gold Panda’s most riveting statements, amplifying his technical virtuosity while also honing in on the glorious melodic jewels that allow his work to linger so strongly in the imagination.

From start to finish, Dawn Richard and Spencer Zahn have created a truly refreshing body of work, a seamless experience. ‘Pigments’ encourages one to reach outside of their comfort zone, to listen more closely, more openly.

A fun record, but also one with real depth, ‘Alpha Zulu’ becomes an apt testament to the group’s continuing vitality.

One of the most engrossing UK electronic albums to land in 2022.

Without a doubt, ‘Only The Strong Survive’ exemplifies Springsteen’s unfaltering commitment to top-notch musicianship and production.

‘Loud Without Noise’ is brave in its honest lyricism and empowering in its sound while still paying homage to the angst-fuelled, punk spirit that first grew them a following. It is a nostalgic mixtape that will make you shed your inhibitions, let go of those social anxieties and, at least for the 20 minute duration, feel a complete freedom that you may not have ever felt.

From understated bedroom pop to innovative troubadour, Skinner’s new record is truly a gift.

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.

‘Cometa’ is Hakim’s strongest, and most personal, album to date.

Big Joanie makes their own home on the record, and in the process, their own mark on contemporary rock. In a nutshell: Big Joanie is a band that deserves your attention.

This new album, then, is the perfect piece of fan service. It’s Aubrey on the mic, 21 Savage in full flow. The roll out – which pirated a Tiny Desk session and copied a Vogue cover – was pitch perfect, two artists subverting the expectations placed on them...It’s a shame, then, that ‘Her Loss’ often feels entirely predictable. The foes that punctuate their bars are well-worn – less talented adversaries trying to gain clout; love interests who leech on their wealth and prestige – and while it’s nice to hear Drake unleashed, at times 21 Savage can feel like a passenger.

Fletcher’s most revealing and revelatory body of work to date. The candid storytelling of loss and trauma, the pain of personal growth, and the power of true self-acceptance opens up to serving soft pop-punk brilliancy in an exhilarating yet hypnotising project.

Ezra Collective have once again released an album that is hard to fault.

Whilst other songs such as ‘Turning Onto You’ don’t particularly inspire and feel somewhat under-produced, the album remains pensive, zesty and delicately crafted. This is truly an album to draw comfort from throughout winter.

Overall, ‘Makes Me Sick, Makes Me Smile’ is beautiful, explosive, and honest – and a stunning debut for Pretty Sick.

‘Actual Life 3’ confidently guides us into an exciting future for UK club culture and encourages us to never forget what we nearly lost.

Continually criss-crossing over itself, ‘I GOT ISSUES’ remains terrifically entertaining. ... Perhaps uneven, the record’s 14 track span provides room for growth.

Rich, warm and deeply immersive, ‘Datura’ is brooding proof of a band refined.

With most of the numbers coming at you like a Doc Marten to the face, a change in tempo is appreciated on the appropriately named ‘Slow Burn,’ a wonky gothic riff adding some atmosphere before the inevitable loud chorus.

The truth is that in matters of injustice, anger is one of our most powerful tools and with it ‘Hugo’ showcases an essential part of the depth and criticality Loyle Carner possesses as an artist.

This is a punchy record sure to spark some vital debates, as well as having a solid slew of crowd-pleasers.

‘The Loneliest Time’ feels a far cry from the saccharine star that launched Jepsen’s career but proves her musical pliability.

As a diary entry, defined by dark nights of the soul and cast in the same bluish-purple hues, ‘Midnights’ offers little of revelatory purpose to those who have yet to succumb to Swift’s charms. For those already swayed by her craft, however, it may reasonably go on to be recognised as her best album to date.

‘Apocalypse Love’ is a primal cry, a maniacal love letter to their sonic anarchy and the unpredictability of the world we live in. It’s a discordant record, swerving through genres and emotions at breakneck speed, but that’s what the Black Lips are all about.

It captures the trials of his journey so far whilst celebrating his current success and the gross potential to do even more. The collaborations are authentic and humble, apt for the LP’s subtly intimate nature. Lil Baby has set the tone for his next phase.

At times, ‘Only Built For Infinity Links’ leans too heavily on the past, and comes close to being simply Migos without Offset – as opposed to a project with its own taste and flavours. At its best, though, the record more than justifies the excitement – the post-Migos landscape is looking very inviting indeed.

‘Stay Close To Music’ is, in all sincerity, a masterpiece that seeks to amplify the voices that have been pushed aside for far too long.

This album is, to be clear, an ambitious, stylish, coherent work of fine art. ‘Tranquility Base…’ grew on me, this may too. But I can’t help but feel that with ‘The Car’, Arctic Monkeys have taken a wrong turn.

Element, and devoutly ambitious, it’s a record to be absorbed at its own pace.

The band promised that they weren’t going to play it safe with this record, and it seems to have paid off.

A revealing, continually powerful set of songs, ‘Here Is Everything’ is a fantastically engaging experience, arguably the strongest set The Big Moon have placed their name against.

‘FOREVERANDEVERNOMORE’ is nostalgic, melancholic, hopeful and hopeless, existentialist and nihilist. Brian Eno is one of the few artists who is able to convey the things he does by using so little, and ‘FOREVER’ is a prime example of his mastery.

Malleable, accessible but equally polished and bold, ‘Capricorn Sun’ will no doubt propel TSHA into new environments and challenges.

Never once is Jean Dawson restricted by any instruments or styles. Instead he crafts a nostalgic, and sometimes aggressive, world, matched beautifully by the well-thought-out visuals. It took everything that made ‘Pixel Bath’ so incredible and just elevates it. 8/10

‘Tableau’ sees the The Orielles venture into the unknown, with the sole ambition of testing their limits (or lack thereof). They succeed, resurfacing with new vision, and setting an example of what can occur when artists have the opportunity to revel in full, untethered, boundless creativity.

‘Being Funny In A Foreign Language’, like most of their projects, has something for everyone, but this time does stay in one lane – and that’s for the better.

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

A challenging yet continually beautiful project, ‘In These Times’ contains a terrific sense of unity, one that belies the lengthy manner of its gestation. An ode to community, it’s a record that carries a very special charm.

‘SUCKERPUNCH’ sees Chloe Moriondo at their most daring and most confident on what is by far their most creatively impressive album to date.

The album shows The Cult taking their musicality, sonic tricks and experience to a new place, still retaining their identity, and this can only be a good thing.

FLOHIO’s debut shows a willingness to step out the boundaries like few other rappers, and she’s got the power to prove it. Out of Heart plants well-intentioned seeds; with some refinement, FLOHIO has a real shot of some bangers to sow.

In spite of much of ‘CHARLIE’ missing complexity or a distinctive flair, the album remains punchy and bright and what Puth lacks in poetry, he makes up for with glimpses of pure pop excellence.

‘Blue Rev’ is a magical, twisty excursion to a crossroads where the band simultaneously reflects on yesteryear and explores the turbulence of divergent realities.

Fuelled by rapturous and disjointed guitar work and bittersweet lyricism, this record will easily be in the running for one of the best records out of the UK this year.

‘Cool It Down’ feels defined, succinct in a way that suggests complete confidence – it’s also a weakness. A smidge over 30 minutes, and with only eight songs, it already has you yearning for what might come next.

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.

Overall, ‘The End, So Far’ is a remarkable punch of sharp, sobering heavy metal. Slipknot yet again thrive in their signature darkness – however, there it no doubt that this album would be elevated by more cohesion.

‘Doggerel’ isn’t a bad record, it’s just missing the audacious grit that is so entwined with the bizarre charm that makes the PIXIES so remarkable.

To hear someone so comfortable in their own creative process, binding the childhood inquisitiveness that’s never left them to the artistic confidence that they’ve developed over more than three decades, is a delight and a privilege.

Polished production all around allows the band to really bring a twist to their previous music. Simple bass lines and drum beats are easily forgotten about, but the band use this to their advantage throughout the seven track production.

Beautifully accomplished, ‘Weather Alive’ stands as an imposing career-high by a fine, fine songwriter.

JID’s latest release is a wonderful insight into the rapper’s formative years, and ultimately through the introspective manner allows for an enthralling listen.

He seems to explore his craft, experimenting with electronic instruments throughout each track, yet stays close to home.

Maya Hawke plays with vulnerability and honesty throughout ‘MOSS’, creating a compelling, delicate and melancholic listen.

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.

‘EBM’ is full of stadium-ready anthems and is a riveting, celebratory and bold musical odyssey that is both glorious and gritty in equal measure.