Trend and time can’t touch them, and with ‘Senjutsu’ they’ve produced one of their best albums of the past 20 years.

Neō Wax Bloom begs for multiple listens and, once you’ve digested every morsel, you’ll be wanting to visit Mamu more often.

A project driven by a focussed, finessed sense of purpose, ‘The Tipping Point’ is an excellent song cycle, one that touches on their innermost feelings.

A grand, cinematic record, it seems to burst past the edges of the widescreen limitations it utilises. Terrific space rock that feels utterly untethered from its sources, ‘Everything Was Beautiful’ easily ranks amongst Spiritualized’s finest achievements.

The strange, shimmering spirit of his songwriting and production style still pushes its way to the surface, delivering yet another record for fans to leave on repeat.

‘LOGGERHEAD’ makes for an unmistakably compelling debut, held aloft by the principle that sometimes you have to just scream it out.

Ultimately, ‘COSPLAY’ is Sorry at their most innovative and impressive, with their strongest songwriting to date. The album has everything the band is loved for, but it’s augmented and heightened.

A welcome reminder that Lambchop are just as vital as they’ve ever been.

You can hear the size of her thoughts and desires on this truly stunning record, this genuine opera. They are as big as the universe and everything in it.

Even in the albums more heightened and banging moments, there’s consideration and a message, lyrics worthy of a proper listen. By drawing on his own experience and stories, Sam brings politics to his music in a way that’s more impactful than anything Keir Starmer is doing at the minute.

All one can do is let the album play through again, though, is indicative of the great power this exhibition of completely engrossing, electrifyingly ambitious avant-dance(hall) possesses.

Unfailingly imaginative, her return offers another vital chapter in her unfailingly riveting career.

Athena isn’t just an album to be listened to, it’s to be experienced. While this is arguably true of all music, this album is filled with deeply textured soundscapes that feel contemporary but also from the not-too-distant future.

Works of art like these elevate us beyond the material world, if only for an afternoon, and for that Holter remains worth her weight in gold.

A hugely impressive achievement, ‘I’ve Been Trying To Tell You’ is technically exquisite, while remaining incredibly difficult to pin down. A project to bathe in, rather than simply enjoy.

With an expansive tone that ‘Vol. I’ lacks, this is an addictive, clever, and primal magnum opus that refuses tropes and easy predictions, going far beyond the niche of fiddly psychedelia Angine De Poitrine’s viral following came from.

A record bursting with artistic emotion and vulnerable resilience.

Despite the sadness that clearly surrounds this project there is plenty of positivity: the production of the album is impeccable, and the overwhelming message that shines through is of hope for the future.

uknowhatimsayin succeeds in flipping our expectations of a Danny Brown album, delivering a project that’s masterfully produced and exquisitely executed.

It's glittering and electronic, its lyrics and title inspired by Owain Owain's dystopian science fiction novel, and its melodies underpinned with discordant notes and bric-à-brac sonic oddities--but it shares a similarly subversive edge to that record.

Fragile yet utterly destructive, this wolf in sheep’s clothing will hurl you five ways and leave you hovering over a bleak abyss. In a great way, obviously.

It’s honest, dark, funny, tragic, moving and incredibly catchy. This is PUP’s finest album to date. No easy job. At its heart this is a slow descent into self-destruction. And we feel all the better for it.

'Cruel Country' is neither ironic, nor frivolous: it’s a sprawling double-album that stands as one of Wilco’s best, an ever-moving meditation on the quest for connection in a country that’s often cruel but always worthy, in Tweedy’s eyes, of forgiveness.

From the delighted cheers of the fans to the simple message of ‘merci’ from Sleater-Kinny themselves Live In Paris is the sound of band who--frequently under-rated, sometimes unjustly ignored--have found a room of their own. This is their time.

A body of work that will bring more comfort to longtime fans of his like a big fat hug around the middle, it’s packed with enough pop chops to rattle stadium floors, and dominate the kitchen radios of the casual listener for a while to come yet.

It’s clear Danny is dealing with some demons, but his issues don’t dampen the mood.

This is space tourism, flying first class.

‘42.26’ - unmasked as the previously released ‘Feels Like Summer’ - and ‘47.48’ (which features his son Legend Glover) are the only other enjoyable tracks on the project. The other songs seem to fade and ultimately becomes background noise with no proper substance compared to Donald Glover’s other projects. Lacking the strong narrative thrust so apparent on his past albums, the project is incredibly disappointing.