Ultimately The Impossible Kid is an album that will reinforce whatever preconceptions about Aesop Rock you already hold. However, it’s also worth noting that this is most probably the least cryptic and most honest of all his records.

A cacophonous exhibition of everything that makes Deafheaven so special, ‘Lonely People With Power’ stands resolutely alongside ‘Sunbather’, ‘New Bermuda’, and ‘Ordinary Corrupt Human Love’ as testament to the brilliance of a band that is quickly amassing an unrivalled discography of masterpieces.

‘This Stupid World’ is another wonderful instalment in their extensive catalogue.

Thankfully, they’ve saved their finest ideas for Tomorrow’s Harvest, which burns as brightly as anything they have accomplished thus far

These are songs for songwriters, beautifully constructed and realised--after a full rotation, it'd be difficult not to fall in love with this album.

Something about the songwriting on ‘This Is Why’ are undeniably the most something, Williams both elegant and sandpaper-coarse, depending on what is called for.

A fabulous album, confirming St. Vincent's status as a deeply talented artist.

The glimpses at the making of the album and its various iterations will enthral fans, finally getting the fabled electric sessions. Ultimately, it proves that the album in its original guise in 1982 was a masterstroke, continuing to win new fans to this day and reinventing the home recording process.

Ecstatic Arrow is kind of the sonic equivalent of the Barbican Conservatory, with its juxtaposition of undulating concrete and myriad verdant plants from across the world. And if you’ve ever been there, you’ll know it’s a very pleasant space.

Yes, it’s also chaotic and messy, but also catchy. This is not an album, or band, to sleep on in 2026.

‘MONTERO’ excels the marketing spin by delivering one of 2021’s most daring, riveting, and honest pop statement.

Deafheaven have managed to craft a lengthy, complex offering that could be considered the antithesis of their lauded second album, but also proves to their doubters that they're here to stay.

With this expertly curated and brilliantly sequenced collection, BadBadNotGood have demonstrated that there’s still life in the compilation, and have shown the benefit of getting professionals on board to create them.

‘I Don’t Live Here Anymore’ sees no severe changes from the Grammy award-winning 'A Deeper Understanding,' but does make for a more nimble listen, the track's shorter running time creating a tauter experience.

This album is not for everyone. It’s not an easy listen. At times you think “Why am I listening to this? Is it even any good?” and feel like turning it off and trying something more conventional. However, if you are game enough and persevere with it you will be rewarded, as ‘Aura’ is an absolute delight once you let it under your skin.

Phoebe Green explores and elevates her creative visions with ‘Lucky Me’, with helping hands by some of pop’s most innovative producers; Kaines and Tom A.D as well as lead producer for the album, Dave McCracken.

Bleak as you like, but strangely cathartic in many places, it's absolutely the worst album to soundtrack your Christmas lottery win. For the rest of us dour wageslaves, it's perfect.

Miss Universe is an intimate record full of personal fears and emotions, but these are of wider, universal relevance. They should resonate with us all.

Beyoncé’ is one of the best damn albums of 2013, basically, however you’re looking at it: as an R&B record, a pop set, an electro collection. Whatever your tastes, you can’t question the quality here.

This offers an unparalleled listening experience. Each quality – the gorgeous vocals, the radiant tones, the graceful guitar – manifests enlightened bliss. The expertly blended transitions between each track transform them into puzzle pieces that fit smoothly together.

This album serves up Summer Walker’s best work yet. It’s brutal, yet romantic, it’s fun, yet flirty, it’s everything any listener could be wanting. A rollercoaster of emotions and she’s not even finished yet.

‘Evermore’ wholly offers more conviction, without sacrificing the vulnerability that enamoured even her biggest critics earlier this year.

Fans of Depeche Mode can be happy to receive the band’s best offering of this century (though don’t get it twisted, ‘Playing The Angel’ is still a great record) but it’s unlikely they’ll change the minds of non-listeners, as foolish as such people are. The same ground is tread here, just in new shoes.

Occasionally, the lyrics wander into cliché but for the most part, it’s a strong addition to a stellar body of work and another welcome showing from one of music’s most consistent and underrated performers.

Concise and packed with intention, SLAYYYYTER’s new album is forceful and focussed.

This album captures an occasionally combustible but largely uncomfortable sound of a previously fearless and pioneering band caught in a crisis of confidence, overriding their own musical instincts to pursue an idealised version of themselves they picture in their own heads.

As faithful as these songs might be to their back catalogue, OMD have never been ones to repeat themselves, and everything here shines with an intense and neon-lit originality.

The accompanying DVD features an early performance by this line-up, which is a mildly diverting if sonically unspectacular curio alongside a still largely splendid record.