Overall, ‘Supernova’ is exactly what it says on the tin - a bright burst of energy that will leave you awe-struck.

Self-acceptance is a major theme of this bold album and her complicated emotions can be felt by listeners in this stand-out album from Self Esteem.

Lemonade is Beyoncé at her most benevolent, and her most unadulterated. Treating her blackness not as an affliction but a celebratory beacon, Lemonade is a long overdue, cathartic retribution.

Overall, the ensemble sound incredibly close to the freewheeling jams fans are accustomed to; in short, they meet the sky-high potential teased on their first record.

A record everyone with half an experimental ear should experience, even if they run from it, screaming.

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.

Turnstile are flexing some of their heaviest hooks yet - gliding us across nonchalant bops and hellish riffs, the Maryland five-piece have yet again come out with a bang.

Dove Ellis’ debut translates his quietly magnetic presence into something much larger, one that barely scratches the surface of what he’s capable of. We’re just at the start.

He draws on the many splintered facets of UK rap – and other sonic traits besides – while somehow transcending them. Literate, wise, and emotionally devastating, ‘We’re All Alone In This Together’ places Dave at the absolute pinnacle of British music.

First spewed forth in 1973 this blend of Iggy's guttural moanings and James Williamson's precise spiky guitars is rightly regarded as one of the most seminal, ferocious, uncompromising, crude, sleazy, nihilistic rock albums of all time.

A glittering glam-pop bounty of androgynous pop bots, dock prostitutes, Depression-era outlaws, cowboys and nun-baiting schoolgirls, GYBR remains a vital and versatile vision of brilliance that deserves to be heard.

Titanic Rising harnesses convention and refashions it into something singular. At once a document of this “wild time to be alive” and an escape from it, it’s often remarkably good.

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

Constructed amid the dystopia of 2020, ‘CARNAGE’ instead stands as something unique, the sound of two vastly experienced musicians removing themselves from expectations, and constructing something both beautiful and visceral, tender and blood-thirsty, wholly terrifying and completely absorbing.

Channel Orange demands to be listened to in a single sitting.

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

Disjointed? Slightly. But who cares. He’s conjured something mischievous and joyful. A record that feels like it’s been beamed in from a distant star, sounding something like a near and possible future.

As ‘Red (Taylor’s Version)’ shows, this is an exercise in catharsis. Leafing back through the storybook of our own formative years, we feel it all.

This project combines many styles Hayley has touched on whether that might be with Paramore or independently, but her distinctive lyricism ties them all together into a discovery of self. [Review is based on the 17-track release]

It’s an exercise in catharsis, providing an accurate snapshot into the minds and mentality of the band certainly, but also the general public of the last year and a half.

As both a treatise and a sonic testament, ‘COWBOY CARTER’ is its own triumph; unmoored in form, space and time, it’s the work of a preternatural talent painstakingly poring over every word, stratified vocal, sample and stylistic flourish.

The only tiny criticism is that once or twice Heartworms’ palette ventures a little too close to retro eighties post-punk worship; see the guitars and drum machines of ‘Celebrate’ as an example. But other than that minor quibble, this is a seriously strong debut from an artist in total command of her craft, one that’s all the more impressive for so elegantly incorporating eccentric, sometimes abrasive ideas into its unabashedly pop vision.

If ‘RENAISSANCE’ doesn’t convince you that a star with nothing to prove continues to produce sprawling bodies of work that are editorially precise, prismatic and rhythmically audacious, nothing will.

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

This newly three dimensional Little Simz--vulnerable and reflective, while spiky and hard--has produced a crafted project, and it’s one of her best to date.

Definitely not a reinvention, it plays to the band’s strengths while amplifying new qualities, a record as bruising as it is subtle. Working to their own passions and desires, ‘Blue Weekend’ places Wolf Alice beyond the reach of their peers.

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.

Musically, the pop-punk sound has been largely abandoned (save for, perhaps, recent single 'I Don't Like Who I Was Then') in favour of something more forceful and nuanced.