Overall, ‘ASK THAT GOD’, is a journey in every sense providing enough density and style changes to keep listeners intrigued to the very end.

As a whole, ‘Sogolo’ stands as a less cohesive package than 2023’s ‘Zango’, but it’s a braver, more energetic, and forward-thinking LP.

Having made a transformative 34-minute leap from the hesitant ‘Can I Call You in the Morning?’ to this Girls-meets-Sex and the City big moment, full of energy, self-irony, and hope, The Beaches sound like they’ve finally forgotten their exes ever existed.

Remaining steadfast in their signature sound, Circa Waves released another nine songs which combines with ‘Death & Love pt.1’ to make an 18 track album. Part two’s first single, ‘CherryBomb’ immediately places you into Circa Wave’s soundscape with its relaxed instrumentation, vibrant riffs and catchy choruses.

‘Something To Consume’ is a brilliant debut, ambitious in the best of ways. The Austin outfit possess an unrivaled passion that is genuinely exciting, leaving their listeners eager for more.

It’s as though these songs have that uncanny ability to shut out the outside world and speak to no one but the listener. When you achieve that, you’re usually onto something special.

A straight-talking delight, ‘Gaslighter’ refuses to radically overhaul The Chicks’ sound, and that’s ultimately why it’s so successful. Retaining that fine balance between country and pop, it allows the three-piece space to be true to themselves, ably building on their storied catalogue.

Although the sound of the album is wide-ranging, it holds continuity through its lyrics and general sentiment. K-Pop after all is an inherently genre-blending style of music, so it’s no surprise.

2012 - 2017 is one hour and seven minutes of sample-heavy dance tracks--eleven in total. Those who are deeply inquisitive about music will have a field day on WhoSampled finding vocal stems from David Axelrod, The Delfonics and Kanye West. Those who aren’t interested in that will still find an album which has an instant impact as Jaar substitutes avant-garde dystopian techno with the most off kilter time signatures for something much more predictable.

Art-rap that refuses to be hemmed in, ‘LP!’ excels by tapping in to the rapper’s undoubted verbal virtuosity, while augmenting it with blistering production. Another triumph from one of rap’s true creative visionaries.

The production in songs like ‘Drive’, with its charming bass line, and ‘Silver Jubilee’, with its flirtation with 2016-electropop, are nice surprises, but overall the record can get a little repetitive with its themes and melodies. .... But her comedic and very specific style does shine through either way, and performing these songs for a crowd will probably add to the depth of future projects.

Dan Carey – Speedy Wunderground head honcho and producer of Fontaines D.C. amongst many others – helms the boards for this record, and sonically it feels richer, with more depth than its predecessors. .... That said, some of the cartoonish aspects of Kneecap’s past remain firmly fixed in place.

After the impulsive creativity of Logos, Parallax, by contrast, is a much more refined listen.

Rest assured, his remarkable voice and grasp of melody remain undimmed and while it may not sound exactly as you were expecting, it is a bold, distinctive and genuinely excellent record.

She embraces their words, often of death and reminiscence on youth, as if they’d come from deep within herself. It is, after 38 years, a fine reminder of her vital place in British musical tradition, as the essential elder stateswoman of folk.

This is an album that can make you weepy in the hazy blur of the wee small hours, and euphoric in the fuzzy afternoon sun.

There is a distinctive confidence as Rachel Brown and Nate Amos weave nu-metal backbeat, indie guitar twang, piano motifs and deadpan vocals together.

Rather than risk nestling ever-deeper into their cushy role as purveyors of twee-approved, candied indie-rock, The Radio Dept. have opted for a collection of songs that is as decidedly unapologetic as it is cemented in political sludge.

The group feel more at home with the methodology of early prog or post-punk, with a sense of the abstract rippling beneath those crystalline waves of perfect sound. Shine on, you diamonds.

With tracks produced by Timbaland, Skrillex and DJ Mustard, Carey duly pays homage to the sounds prevalent at different stages of her career whilst remaining fresh and contemporary.

This is an impressive and well-rounded collection of work from the hard-working Australians.

‘Unfollow The Rules’ feels like a gentle stroll through the various stages of Rufus’s career; far from creating the impression of Rufus covering his own back catalogue, the effect is like a timely reminder of everything that’s wonderful about Wainwright.

It may spend a lot of its time reflecting on the past. But as an argument for that now famous district in South Los Angeles and its continued importance and centrality to hip-hop, it’s forceful and convincing, and one that ensures those Hollywood-style ‘COMPTON’ letters will continue to loom large--not just over L.A., but over this genre as a whole.

While it lacks the untethered aggression of past efforts, there’s a mean underbelly to tracks like ‘Beverly’ and ‘Howl’ that makes up for this.

18 thunderous tunes.

At times the production is marred by brevity and unevenness, which can make ‘BUBBA’ sound more like a mixtape in places. Thankfully, these moments are outnumbered by others where Kaytranada is well and truly back on form.

The tough guy act only gets you so far, though. And that is why 'Karma 3' really comes alive when East exposes his character’s soft underbelly. ... Memories tainted by regret and guilt – the flip side of nostalgia – resonate in Motown-style acoustic instrumentation and chunky Golden Era beats combined with a supreme cast of vocalists.

Revealing, emotional, powerful and progressive, ‘Fever Dreams Pts 1-4’ is an impressive and committed body of work.