A glittering project that underlines Offset’s status as one of American rap’s MVPs, ‘SET IT OFF’ doubles as an emotional mirror, as a form of autobiography. All that glitters isn’t gold – and very often the finest moments on this album are its most humble.

Garcia allows these songs to ebb and flow without a clear end point in mind, allowing the interplay between her band-members to become this album’s primary draw. She has proven herself to be just as formidable a composer as she is a performer.

It does not lose sight of its subject, and goes from strength to strength after each listen. There is no doubt that ‘Double Infinity’ will be a milestone release for Big Thief – for the band’s past, present, and future.

The record swells and retreats at will as the group flex their musical dexterity.

Broadly eclectic throughout, it's a buoyant return.

CALM is a refreshing evolution from the days of their self-titled debut. Their latest effort is by no means perfect, but the album is a testament to their growth.

Less reliant on theory or process, Love Streams is a testament to Hecker’s innate musical sense of direction.

It may not be original, but in a time where bands prefer to gaze wistfully at their shoes or navels, Leeds’ Eagulls are like a necessary breath of fresh air.

This record is an exploration into the synergy of reengineering technology and humanity. Let yourself be taken on the journey.

Criminally under exposed.

Lyrically, the album represents one of Shana Cleveland’s most daring and open song cycles.

Melancholy remains the primary colour in Robyn’s work, though it continues to sparkle.

Kehlani can still be thorny and tempestuous but they’ve also never been more holistic and soulful than on ‘Blue Water Road’.

It is the sound of a band working out what they are good at and turning the quality control up to eleven.

Fifth effort Depression Cherry is no different, and whilst haters could accuse the duo of being a one trick pony, you must ask yourself if you truly care when the pony is so damn gorgeous.

It brings the friendly, familiar sound of a bygone time without begging for the clocks to veer into reverse, and clings to ‘90s noise-pop with the gentlest possible grip. It’s a show of strength too, proving the resilience of the band.

There’s more than enough life in his work to shock, provoke thought, and inspire for another two decades.

A fluid, effortless and absorbing listen, King Gizzard & the Lizard Wizard aren’t just one the industry’s most prolific bands, they are also one of the world’s best.

Ashnikko uses cogent and wisecracking lyrics thrown in to a vat of saccharine pop, punk, rap and trap as her weapon of choice. She promotes her sex positive ideals with genuine laugh out loud humour as she explores the movement throughout the mixtape.

The absence of any high-profile pop vocal collaborations--save for Snoop Dogg on 'I'll House You', which playfully (and successfully) pays tribute to house music circa Dance Energy--and greater focus on the French house and techno that formed him, present Boys Noize at his most venerably accomplished.

[His albums] are normally produced to the hilt, but here Neil Young sounds more vulnerable than he normally does, and this makes the songs more immediate and personal.

’Ignatius’ is the album the hip-hop scene didn’t know it needed, the raw voice and understanding Jadakiss delivers here offers much-needed respite from the shallow music we seem to be swamped in at the moment. What a way to make a comeback.

Some may find 'Visions' consistently eschews the same ground of super slick, layered vocals over chrome digital structures but this reductive palette of sonics hears the album fly towards its peak of 'Nightmusic' - a collaboration with Majical Cloudz that is camouflaged electro pop that'll keep you muttering for months.

A subversive work, ‘Antidepressants’ is confrontational, unfiltered and arguably one of their most electrifying releases to date.

It takes something to stay true to the original ‘Who-ish’ sound after 50 years in the game, but unlike so many others, this time they’ve managed to do so with impeccable form.

'Homesick' is defined by its anthemic vulnerability, truly capturing a sense of coming of age excellence. Much like the outfit’s previous releases, there is this sense of familiarity stitched into every track, making the nostalgia shine even brighter.

PJ Geissinger boosts his refinement, despite not being a slave to technicality, with no surrendering of dancefloor rawness.

‘Last Night In The Bittersweet’ transports you from the hard-hitting indie rock chaos to gentle soul; his vocals being just as strong and as captivating as he moves from one end of the spectrum to another.