A sorrowful, yet captivating collection of songs, ensuring that Ms. Mitchell continues to snap at the heels of PJ Harvey in the female singer songwriter stakes.

An artist who continually confronts his own emotions, ‘Permanent Damage’ finds Joesef heightening his intentions, and magnifying his aspirations. He’s manifesting pop greatness, and few would bet against him.

‘Prize’ fully submerges the artist into a unique, eccentric, psychedelic style – allowing her to fully embrace various influences and detach her art from confinements that previous albums may have established.

This impressive collection is a touching tribute to Petty’s enduring legacy and demonstrates his candour, artistry, and emotive storytelling. This is a real must have for any Tom Petty fan and paints an even more colourful picture of what has always been a masterpiece as well as unveiling an exciting treasure trove of musical gems which will inevitably become long-lasting Petty classics.

No less inviting than their debut, while asserting its own identity at every corner, ‘O Monolith’ is a fine second album.

This record comes on like the voice of a friend, confessional and familiar-- full of small, important reassurances.

At just under and hour the album isn’t notably long nor short, but there are no parts that drag or feel out of place. This isn’t a hip-hop album, a jazz album, an electronica album...but something that will speak to fans of those genres who’ll take this as their album.

Nova Twins’ sound remains 100% homegrown British beefiness. There are many people out there from across the rap-rock spectrum who will despise this album (for reasons both fair and foul), but there are many more who will appreciate the lack of compromise in this rollicking call to arms.

This is the strongest project Drake since 2013’s ‘Nothing Was The Same’, and one that owes itself to sounds across the globe.

Smart, soulful pop.

With the veteran experimentalists on a self-imposed hiatus--and now a drummer light--Not Music offers a stopgap if not a final full stop to a kaleidoscopic career.

Blood is a work that speaks for itself, an album that’s boundless, and restlessly pursues the ideas of its creator.

This record contains meticulous instrumental arrangements and clever storytelling. It is protest music without the cliché heavy rock sound and direct lyrics. Instead Maltese uses satire to place pity upon the world but mostly himself, all delivered with a wry grin and a sparkle in his eye.

A juxtaposition of life’s light and dark, glittering idealism and harsh realities, ‘Hard Headed Woman’ is a gorgeous display of classic country tropes, blues instrumentation and songwriting prowess.

Beautifully produced and blessed with Guy Garvey in fine voice, it's a small but perfectly formed step forward.

This third LP’s motley magic merits the coveted breakthrough that these Celtic chancers deserve.

It wraps you up like a sunny day in the middle of no where. But Lynch is never far from a party, and every moment of this record is glazed with fun and pop and excitement.

Overall, it's the record you wanted--and expected--AlunaGeorge to make three years ago. It'd be good to see them kick on, though; you still get the feeling they've an even better record in them.

This album embodies the 1976 punk sound 50 years on and despite the years, Buzzcocks are still as strong as ever and I can’t wait to hear what they have next in their new era.

The Atlanta rapper is just too slick, too fast-moving, and too good to truly bring down. ‘Mixtape Pluto’ offers ample evidence to his continuing singular form of genius.

‘Whatever The Weather is fortunately distinctly Loraine James; an unexpected new step of diverse experiments, and a perfect companion to a spring as of yet undecided on showing its face.

Its cleverness and humour burst like springs from an overstuffed rococo couch.

This album deserves your attention and is a perfect example of a group accomplishing and exceeding their full potential.

‘The WAEVE’ being a unique experience, bathed in a bold richness and brilliantly indulgent productions.

The songwriting is strong, representing Selway’s best – and must sustained – burst of solo work yet. His innate musicality shines through, and there’s an endearing honesty to the lyrics that filters across the music itself.

McMorrow loyalists may bemoan the polished sheen that characterises the tracks on We Move, but there is some genuine pop-soul mastery at display here, McMorrow’s sound more wholesome without renouncing the spectral quality that characterised his earlier material.

‘STAY HERE 4 LIFE’ feels like his re-commitment to the art, a high point on an album laden with anthems – ‘NO TRESPASSING’ is sheer, filthy club music, while ‘AIR FORCE (BLACK DEMARCO)’ marries Mega Drive electronics to impetuous flows. There’s subtlety, too.

Tastefully rambunctious, ‘What’s Wrong With New York?’ is a sonic melting pot of millennial and Gen Z sounds. With retro drums and abrasive synth bases, it’s a performance-geared record filled with pulsating bass lines, perfect for making bad decisions in a sweaty basement.