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

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.

An eager act of fan service, the results represent one of his most consistent records from the past 20 years.

Bottling up teenage emotions and expressing it in effervescent electronica and wistful melodies, their self-titled debut is 16 tracks of minimalistic and clean compositions overridden with Paul Klein’s lovestruck lyrics.

If perhaps lacking something as standout as ‘Mess Around’ or ‘Ain’t No Rest For The Wicked’, it is a welcome return for the Kentucky rockers showing after nearly 20 years together they still know how to groove.

Not quite unshackling himself from the past, ‘always centered at night’ is a rewarding experience which will do much to push back unjust preconceptions.

Carnage Hall is an album that bristles with clever ideas, memorable sing-a-longs, ‘Highlight’, ‘Drinking Problems Continue’ and ‘Accordion’, whilst reminding you of all the best bits from Devo, Trust Fund, The Rezillos and why you feel in love with those bands in the first place.

Rossen redefines the boundaries of musical imagination with his long-awaited, wholly confident debut LP 'You Belong There'.

The album is at its best when DeGraw’s chaotic textures give way to more structured declarations of despair.

Recorded with Berlin-based chamber orchestra s t a r g a z e, their sound is simultaneously laid bare and enriched by its cinematic qualities.

The music has stark contrasts that work well to portray the emotions of singer Jim James.

Packing a brassy punch, the tracks still manage to twinkle elegantly, rich in harmony with hymnal touches.

Dedicated to Bobby Jameson offers an enticing preview, delicately ebbing and flowing between irreverent pastiche and tender melancholy, and in the end striking a balance that makes it one of Pink's more accessible and immediately gratifying records in recent memory.

Thanks to Black Milk’s production this is their most accomplished album since 1995's ‘Temple Of Boom’.

Concepts (‘Little Sis’, schmaltz aside, laments a distanced sibling), and grime-horned hammers (‘New Banger’, ‘3 Wheel Ups’ with Wiley and Giggs), put familiarly uneven album flow in a nutshell.

Overall No Shape sees a new exciting chapter for Perfume Genius, one that’s happy to fully throw off the image of the tortured artist for brighter, bolder entity. The future looks a little brighter.

At times spread too thin across its 17 strong tracklisting. ... ‘Trip At Knight’ serves to finesse his sound and approach, allowing room for Trippie Redd to attempt new projects within his digi-focussed framework – it’s a chapter so many of his contemporaries have been cruelly denied.

In marked contrast to a rich oeuvre combining stylistic fluidity with countless collaborations, it is often the most ascetic moments of introspection such as ‘When We Die’, ‘Past Mistake’, ‘Analyze Me’, ‘Makes Me Wanna Die’, and ‘Poems’ that are engraved on our memory, the stripped down productions displaying his sixth sense for the rhythm and emotional tone.

To the uninitiated, this kind of '70s-inspired thrum-rock might sound a bit AOR, but given time it reveals its nuances, placing Vile somewhere between a rougher-edged M. Ward and a bluesy Ariel Pink.

Through seeking comfort in the analogue, HÆLOS are breaking rich, new ground.

What results is an impressive set of dark dance music that plays equally well at closing time or through your headphones at night.

Sweet, intimate and tender, Trick is a tempting treat.

While they still don't quite seem to be the finished article, there's plenty of promise.

Tom Walker’s debut is a perfect representation of him--cheerful, genuine, heartfelt and talented, and as the final notes of his much-awaited record grace your ears, it definitely seems like it’s a great time to be alive.

Ásgeir's music is far too complex and interesting to start writing off as advert fodder. There's a depth to his work that deserves to be burrowed into.

It’s a good effort in their catalogue with some shining moments, but it’s unlikely to invite those in who aren’t already fans of the band.

The majority of its songs clock in under two minutes, but Earl is able to pack so much into the short amount of time that most tracks warrant multiple listens.

Tales Of Us is relentlessly one note but frequently beautiful, and a welcome change from the theatrics of its immediate predecessor, 2010’s ‘Head First’.