For this project Ben Cohen has taken the vocal outtakes and sketches and has crafted wonderfully rich and vibrant music around them. Is it what Leonard would have wanted? We’ll never know, but it doesn’t sound out of place in his rich canon of work, which is the important thing. Long-term fans will revel in another chance to lap up his wisdom and that captivated audiences for almost 50 years.

While Carry Fire showcases some of Plant’s best and most confessional lyricism, there’s no denying that this is an album that stands out most for its lusciously complex musical structures and influences, allowing for it to purvey an other-worldly quality.

Delving into the modern complexities of society, her personal inspirations throughout her life, and developments of self as an artist and producer, the album reminds listeners to question and demonstrate awareness, whilst musically reaches new heights for the producer.

The album is littered with exquisite collaborations.

Each note feels necessary, each word feels heartfelt – in chipping away at the excess to reveal these personal snapshots, Maggie Rogers has unlocked something very special indeed.

Everything suggests that, on the strength of this set, The Land of the Brave won’t need a referendum to prove its independence.

Live up to the hype? The short answer is ‘yes.’ The slightly longer answer is ‘yes, but not as you’d expect it to.’ Funnily enough, the record packs something of a slow burn effect.

Offering up a mix of pop, hip-hop, R&B and a sprinkling of trap and neo soul for good measure, Lizzo covers all bases and serves the perfect introduction to her world for mainstream audiences.

Overall, aside from a lack of sonic variety from song to song, ‘Velvet’ is a strong showcase of a soundscape that is – pun intended – smooth as velvet.

Playful yet packed with feeling, ‘For Free’ suggests that this is one music legend whose story is far from complete.

Slender and carefully defined, it’s the work of someone unafraid to take chances – it’s good to have him back.

It’s a smile-inducing, healing experience, one which reminds you of all the good-weird in the world, rather than the bad-weird, which so often seems to be winning in these strange, discombobulated days.

Kember’s vocals throughout are thoughtful and full of promise for the future, rather than the more recent sombre Spectrum albums. ... At times Sonic Boom feels like a long-lost friend you bump into by chance. He is the same person he was in 1989, but he has also grown a lot too. This comes across in ‘All Things Being Equal’.

‘SABLE, fABLE’ is a record of rare beauty and hope that fits neatly into the catalogue of an outfit that has never failed to deliver something extraordinary.

It’s not easy to write an album about yourself without seeming egotistical, and it’s also not easy to write one which touches on themes of gang violence and poverty without falling into braggadocio or morbidity. On this album, Vince Staples has pulled off both. It may be a short album, but it’s an incredibly deep one.

MAYHEM does, however, re-connect Lady Gaga with a sound – and approach – she deserves to own. With the world growing darker by the minute, one of the planet’s biggest stars is ready to unroot pop’s foundations once more – and we’re totally here for it.

Our Love is a record that feels distinctly his own, accessible yet containing minute touches that you’ll need to listen to many times to appreciate.

It's too early to say if Currents will be the masterpiece that Kevin Parker is remembered for, but not too early to state that this is his best LP yet, a near-perfect album in a body of already remarkably impressive works.

Code Orange’s aim is not to upset the status quo but to rob it. Are they delusional? Absolutely, but the sheer, clear-eyed ambition they exhibit in pursuing the impossible is compelling enough to make ‘Underneath’ an absolute must-hear for anyone who dares to dream differently.

Twenty years in, and Liars are no easier to comprehend – but that’s makes their version of the truth so compelling.

‘Dawn’ is the product of years of curation, brimming with emotion and beautifully articulated lyrics.

Lucrecia Dalt might not think about hit-making, but through her exploration of love and transcendence, she eventually created something strange and eerie, yet surprisingly close to a pop album — with weirdly catchy melodies that tempt you to either dance or hide under the bed — the very thing music critics with their radars on may be looking for.

Whilst there are some bright gems for Jacklin fans interested in her ability to be vulnerable and confessional, there seems to be a whole lot of build-up – and not a lot of climax.

Jaar shows signs of evolving here, and it’s more than welcome. For a record that feels chaotic at times, everything falls into place.

Despite appearing torn between a middle-finger attitude and something much deeper, ‘333’ triumphs in never having a dull moment. It’s a document of character and expression while hopefully pushing forward to something more focussed.

Clairo is clearer now on who she is and who she wants to be. On ‘Sling’ there is the sense that Clairo is in flight, except this time she isn’t running away from her little ghosts. On this record she runs towards them, even dances with them a little.

It’s not a record that will dazzle anyone into any great epiphany, but while its on, you’ll be sure to find yourself charmed by the obvious sincerity of it all.

Kelela treads new ground unlike anything in music today--cavernous, avant-garde R&B that moves the body and heals the broken heart.