The record thrives because of this surface-level wokeness, Miguel continuing to occupy his own lane as a vital, progressive artist.

Now, they’ve unveiled their eighth collection of poetically punky musical works which carries their fresh momentum to expansive heights.

‘Invisible Cities’ is a beguiling album that is as rich as it’s subject matter. A Winged Victory For The Sullen designed 13 piece of music that are architecturally sound but tap in directly, and build from, their enchanting debut album.

‘IT’S BEEN AWFUL’ might be TDE’s most TDE-sounding project since ‘DAMN.’ and it’s thanks to Rashad and his team cleansing their palette to create something timeless.

Listen closely and the lyrics are raw in places in terms of questioning oneself and yet grow in self-confidence and belief as the album progresses, perhaps reflecting experience. However all of this is wrapped in the most glorious music, full of spirit and vitality.

It didn’t matter where it was, this writer and many other listeners have been able to get away from their troubles, even if just for a moment, and take a moment to breathe, and listen to this beautiful album.

Refusing to be hemmed in by their influences, there’s a real streak of inventive originality to The Cords’ songwriting, aligned to an effervescent innocence that feels totally right for the genre

The project includes a host of features from some of the biggest names in the genre, who provide welcome (but somewhat unnecessary) co-signs as she herself manoeuvres with a standout level of artistry that leaves you in no doubt that she is indeed here to stay.

The end result is immensely listenable, and so goddamn fun.

It’s a smile-inducing, healing experience, one which reminds you of all the good-weird in the world, rather than the bad-weird, which so often seems to be winning in these strange, discombobulated days.

‘Excuse Me’ takes us back to the heavy, aggressive punk sound of their viral debut single, while on ‘All In My Head’ they return to the sweeter pop-punk of their debut.

The first half of the album follows an upbeat style, reminiscent of raspy rhythm ‘n’ blues, sharp-edged funk, and early Motown. ... The second half of the album harks back to the golden era of soul with gospel roots and orchestral interludes.

It might not have had a huge single to push those extra sales, but it feels real, it feels soulful, and it’s a representation of Rihanna that she will hopefully still be proud of 15 years on.

Badbea is a key part in Edwyn Collins’ remarkable solo career, one that has defied critics and doctors to wilfully do its own thing. A rich, vastly creative experience, it’s a further sign that Edwyn’s work remains something to treasure.

An album pieced together by a band in mourning, with the sweet sadness of O'Riordan‘s voice layered over, makes it cruder, rawer yet ultimately more truthful and hard-hitting, evoking the charged vulnerability of their very first releases.

Half of the time Barnett, sounds like she isn't even trying, shrugging out moments of brilliance with ease and nonchalance. Whether she sits and thinks or sits and does nothing, it would appear the results are still golden.

Everybody Down might have created a new genre: the album noir.

From the delicate orchestral arrangement of ‘Theme Parks’ to the frosty beats of ‘IRL’, the devil is in the detail on this pearl of a debut album.

Easy on the ear it isn’t, but Slow Focus carves its name into the synapses nonetheless, like some sort of unstoppable, power-electronics ‘In Utero’.

It is an unpredictable and highly eclectic listen packed full of depth and textures making this a must listen.

Reflective, intuitive and introspective, ‘Collapsed In Sunbeams’ is an immensely gripping debut. With no features, Arlo holds her own across all 12 singles and sets the bar high for those who follow.

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

Fletcher’s most revealing and revelatory body of work to date. The candid storytelling of loss and trauma, the pain of personal growth, and the power of true self-acceptance opens up to serving soft pop-punk brilliancy in an exhilarating yet hypnotising project.

This project combines many styles Hayley has touched on whether that might be with Paramore or independently, but her distinctive lyricism ties them all together into a discovery of self. [Review is based on the 17-track release]

Whilst your first few visits to the ‘Tranquility Base Hotel + Casino’ may feel alien and unwelcoming, you will gravitate ever closer to its shimmering outer-space treasures with each stay.

Regional Surrealism is an antidote to a busy life, and the arresting portal into a strange man's mind.

A solid debut then, full of yearning and barstool tales.

Occasionally, the lyrics wander into cliché but for the most part, it’s a strong addition to a stellar body of work and another welcome showing from one of music’s most consistent and underrated performers.