Undoubtedly this is a record which grips you, taking you on a journey and making you unwittingly invest all of your emotions just from one simple press of a button.

These 11 songs display the underrated skills of a multi-faceted musician taking a series of bold and brave steps forward – fortunately, they pay off in droves.

‘What Happened To The Streets?’ provides more questions than answers, and beneath the brash moments leaves you wondering about the rapper’s longevity.

This first true-solo effort sees the man responsible for some of rock's most iconic riffery joining forces with the friends he met on the way (including The Cult's Ian Astbury, Lemmy and Iggy Pop) and is a rocking riot from the off.

Feels curiously unfocussed, and lacking in purpose.

‘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 problem, however, is that the record suffers from a lack of variety and an overkill of nostalgia, while of a raft of identikit, if solid, guest vocalists it’s only Hot Chip’s Alexis Taylor who really stands out.

MSTRKRFT themselves have quit trying to mask anything about their sound or approach, electing instead to deliver the turbo-aggressive noise record they’ve always threatened to make.

‘Music Of The Spheres’ is never less than listenable, but rarely raises the pulse.

This awareness of his public perception seems to dominate the album, even in the tracks that don’t outright address it. As a result, the overall mood is far less authentic.

For all its best intentions, Man of the Woods often feels rushed, occasionally underproduced and at times, unfinished. Lacking the effortless polish of previous releases, it troughs more than peaks and ends up floundering in its own ambition.

Overall, Head Above Water is a collection of eclectic tracks and done well this could make for an element of surprise that keeps your ears perked in anticipation. Here, however, it makes for sonic inconsistencies that leaves you dissatisfied, wanting the bigger and better things that Avril is definitely capable of.

A record that feels both eclectic and uniquely defined, ‘WHAM’ packs huge amount of detail into its 15-track, 41-minute run. The neo-hallucinogenic production flourishes of ‘Free Promo’ show his studio control, but the roll call of features – GloRilla, Rod Wave, an electric Travis Scott – illustrate the respect Lil Baby is afforded by his peers.

In short, on Hymns there’s something close to an excellent EP in amongst some of the very worst things ever to bear the Bloc Party name.

Nathan Willett digs deep into fractured relationships for inspiration and the resultant openness, coupled with King's deft nurturing of Willett's soul-searching, has created the finest Cold War Kids album yet.

BDL Bipolar will give Narstie’s fanbase plenty to enjoy, and while the juxtaposition of staid instrumentals with subversive lyrics is jarring, he remains a gifted MC, worth hearing out.

Candy’s uncompromising approach has been a breath of fresh air when providing guest verses in the past, but a whole album of pornographic paeans will leave you feeling limp.

Granted space once more to create his own world, ‘Set The Tone’ is an enjoyable addition to one of rap’s core catalogues.

The Great Escape Artist is one-paced, bloodless, and frequently blighted by Dave Navarro's ersatz Edge-isms.

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.

The whole exercise seems so carefully crafted and desperately needy that any joy found within The Weight Of Your Love wears off the more you play it.

‘Iceman’ is at its most interesting when exploring these conditions and vulnerabilities, but all too often Drake relies on tropes from previous albums to get him over the line, when he should have been trying to burst through the tape.

It's not completely unfair to say that Déjà Vu won't be joining the pantheon of great albums any time soon.

Heartfelt and compelling, with Jones nurturing every last drop of creative sweat, Until Spring is a romantically epic album, lovingly pieced together by a compelling band.

Surprising and satisfying, we'll even try to forgive the spoken word interlude.

Cells brings a sense of immediacy and creativity to a genre long neglected by the mainstream dubstep epidemic.

On first listen, ‘$ome $sexy $ongs 4 U’ isn’t terrible, but it equally isn’t a vintage release for either artist. PartyNextDoor has undoubtedly released stronger material, and the pair’s regular duets have reached loftier peaks than these.

The first 11 tracks are an exhilarating dip into some of J. Cole’s core tropes, a finessed exploration of where US rap is situated in 2024. .... Stylistically the production [on"7 Minute Drill"] is slightly out-of-step with the tape as a whole, but it taps into some of the project’s over-arching themes – self-worth, separating talent from hype – and feels more ingrained, really, than Kendrick’s own bars on the hit ‘n’ miss Metro Boomin and Future tape.