It feels like a genuine step up for the duo, and the divine collage of sounds and futuristic atmosphere make it an essential listen.

By its very nature, Nat King Cole And Me isn’t anything groundbreaking; however the project is ultimately a well produced and excellently performed tribute album.

‘Ongoing Dispute’ isn’t just the strongest material the band has released to date, but is filled with progress, lust and learning.

‘Automatic’ is emotionally-charged and is full of introspection, intelligent songwriting and despite touching on themes like loss and blurred reality is still poetically beautiful as it always is with the Lumineers.

Given time, it's enjoyably addictive.

It’s okay that this seventh album has no obvious breakout or festival showstopper.

A truly stylish but somewhat overly long affair.

Santigold is at her best when the production behind her has plenty of Caribbean-inflected bounce but throughout 99¢, she proves that she deserves more success than she gets.

Acolyte may infuriate dance purists with its naive inflections but for more pop orientated people it's a fun, if somewhat formulaic start to the decade.

While producer Paul Epworth’s contribution is accomplished, adding a dynamism that maintains our attention throughout, the record seems to lack an underlying theme. Bay has been a bit too clever for his own good, and on Electric Light fails to latch onto a identity that makes him truly unique.

Raw, rambunctious, rollicking and rowdy, Spring King’s debut offering is further proof that the future of rock ’n' roll is achingly thrilling.

While this sonic nonchalance means it can lack singularity and impact, Parallels feels like an organic and necessary evolution for Chung, his affinity for dense, hazy, dreamlike production still as mind-altering as ever.

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

Taylor’s brilliantly bonkers pop odyssey certainly lives up to its title and ultimately, is an impressive, if uneven addition to his already stellar discography.

It’s just sad to hear the spark of reinvention that ignited their last powder keg of an album confined to a handful of tracks on a largely mediocre album. They can do better. They have done better. They will do better again.

HDWGSD is so DTF it's practically humping the furniture, making it one of the most genuine works of rock 'n' roll since Elvis weaponised his pelvis.

Not an unqualified success but worth your consideration.

Ambitious, anthemic and at times, gut wrenchingly emotional, At Hope’s Ravine is a staggering piece of work.

At times brooding, at times impossibly bubbling with light joy, this is a release that highlight Mattiel’s musical abilities - easily able to drop one sound for another at a moment’s notice, and doing it all with absolute class.

‘Just Look At That Sky’ doesn’t presume to offer solutions; it’s an honest document of what it feels like to wade through anxiety, day by day, not a survival guide or handbook of answers none of us actually have.

Short and to the point, ‘L.A. Times’ is a succinct example of Travis’ musicality. A mixed bag, it’s held together by feverish energy, and some of the band’s mainstays – the emotional curiosity, the willingness to think outside the box, and those empathetic vocals. A real charmer.

Orbital’s revised sound sees them cement themselves at the forefront of electronic music.

As solo records go, Mayberry’s first is fun and often touching, but like many before, it is trying to find its identity.

Alpha divides its time between striking out, tempering aggression and giving time to think and go deeper, walking the line between something to respect and invest in. For a producer with as marked an evolution as Dear, that’s pretty clear cut.

From the zany club outings of his 2010 to 2011 releases with Night Slugs to the more restrained and conceptualised LPs of recent years, each record has been a milestone in the development of this most remarkable musician--his latest album being no exception.

The project finds Lil Durk facing up to his faults, and owning them, while never abandoning the landscapes that framed him. At times hugely inspired, the intensity of the experience will leave you breathless.

The songs are trite punk workouts without any real imagination and, whilst there's a reasonable amount of endeavour and vigour, they're unlikely to raise anything other than idle curiosity amongst the curious idle.

It’s a dispiriting affair--a mishmash of glam rock, lad rock and heavier indie rock that fails to ignite.