This is Hey Colossus' best LP yet--by some distance.

Whilst it might not be as immediately stunning as the mix of luscious synth pop and alternate universe James Bond themes on that album [Red Moon In Venus], she still shines on this record, code-switching between English and Romance and beat-switching between sultry R&B and sunny Latin party pop.

Despite the visceral joy and catchy melodies of the music; it's Joseph Talbot’s lyrics that are the main event. Part social commentary, stand-up routine and motivational quotes lyrics.

Art Angels is boundary pushing, it’s listenable and it’s Boucher’s most ambitious and most consistent work to date.

Whilst it lacks the character and vivacity of its predecessor, ‘Dawn FM’ develops the latest reinvention of the Weeknd with its dramatic instrumentation and refreshed view of the world.

An exhausting and thoroughly absorbing set.... It is a record that everybody should own. Meticulous, majestic, momentous.

They’ve come out the other end with a truly talismanic record that will live long in the memory for any who experience it.

Thoughtfully constructed and bristling with quiet self-belief, ‘Dog Eared’ sounds both fresh and warm. Billie Marten shimmers with a chill confidence, offering clear-eyed portraits of her personal relationships that resonate with universal desires to love and be loved.

These songs may be scorched with an unavoidable yearning quality, but they find her standing at a new creative peak: ‘The Gypsy Faerie Queen’, co-written with Nick Cave, might rank among the best songs either have written, while ‘Born To Live’, her piano-led paean to departed lifelong friend Anita Pallenberg, speaks of our corporeal impermanence with a calm but unswervingly frank honesty.

This, his fifth album, is also an overt ode to limbo, the halfway house of consciousness and true death. And this is where all 19 tracks dwell, in between the failing light of traditional jazz and the bursts of neon emitted from his polyrhythmic, nocturnal electronica.

‘Homegrown’ not only lives up to the hype of being a lost classic, it surpasses it.

An exciting and slightly experimental new chapter for the band and their most cohesive release in quite a while. A late-year stunner.

Nestled amongst some of her most nuanced and carefully placed moments of Americana and joined by a host of backing singers and musicians from Connor Oberst to Hand Habits‘ Meg Duffy, Segarra manages to take solace in the fact that while we are victims of our formative years, there is always scope to heal.

The rugged, ragged ‘Twenty Things’ sits against the bolshy ‘Sad Lads Anonymous’, a record whose sonic breadth is matched to the assured nature of its construction.

Theatrical and majestic, ANOHNI’s supple world-building acts as a mirror to her soul – ‘My Back Was A Bridge For You To Cross’ may well be her masterpiece.

With his new album RM demonstrates a sense of growth. Weaving throughout each track, RM feels vividly present. Through the inclusion of art combined with the presence of an interpretation of nature, ‘Indigo’ feels calming, relatable and fresh.

Though ‘Everything Harmony’ may be a pastiche, the band carried it past the point of mere replica and into its own identity. It’s resonant in modern times; a dreamlike escape from the electronic clamour and constant buzz that can drain one’s spirit.

‘LAHAI’ is an astral soul coda that whilst intimately rendered, doubles as a pledge for connection and interrelatedness. We needed this.

‘i/o’ takes us on a journey… of life and all of its experiences and is set to be one of Peter Gabriel’s greatest solo albums to date.

A record that refuses to compromise, ‘BLUE LIPS’ presents ScHoolboy Q in unfiltered form. A creative accelerator, its commitment to the individual voice makes this the LA rapper’s definitive statement.

There is a risk that we might take such quality for granted. Just one listen will remove any such complacency.

With funky guitars riffs and breezy melodies, Monáe's latest effort manages to resemble a throwback and tribute to the Purple One yet avoids feeling too nostalgic.

I think it’s safe to say that ‘GNX’ alone feels like another significant addition to Kendrick’s flawless discography. Not only shocking the world with the nature of its release, but also delivering a project to the same exceptional standard that we’ve come to expect from him.

Though it often overstays its welcome, with a handful of tracks pushing beyond the 15-minute mark, Twin Fantasy is an ideal starting point for any latent Will Toledo fan.

A challenging yet continually beautiful project, ‘In These Times’ contains a terrific sense of unity, one that belies the lengthy manner of its gestation. An ode to community, it’s a record that carries a very special charm.

While the synth and electro are certainly there, it lacks a little punch.

The 29-year-old’s skilful complexity as a musician and producer has undoubtedly progressed along with his self-development.

An absorbing, mystical voyage that lingers in the memory long after morning has broken and the celestial observer has vanished.