Overall, ‘Supernova’ is exactly what it says on the tin - a bright burst of energy that will leave you awe-struck.

'Ugly Season' is best digested as a whole concept. It demands focus, and if the listener isn't too careful, they'll miss the nuance found in muttered lyrics and a flicker of synth.

With both these lyrical and sonic accomplishments, Foals have created a fine record with a very solidified sound that will be the soundtrack for the summer.

When Knapp and Pederson get it right, which they mostly do, especially on the first three tracks, it’s a joy to listen to. However, when it doesn’t quite work it can be a bit of a slog. Saying that when it does all come together ‘Fault Lines’ is exceptional and shows that Knapp and Pederson still have plenty to say.

‘If it ain’t broke, don’t fix it’ seems to be the theme running through ‘Mercury’, the first LP from producer James Hinton in six years. And that’s by no means a criticism.

Across its 14 tracks, the record is an honest and striking body of work.

If anything, 'Proof' provides context to K-pop’s infiltration into the Western industry and gives reasoning to BTS’ dominance.

One of the best things about ‘Time Bend And Break The Bower’ is how every song feels new.

'Big Time' is a focused record that contains stunning examples of vulnerability, almost too exposed to watch. Her ability to shed layers artistically and emotionally, over and over, leaves you excited to see where her next destination may be.

Neither one thing or another, the lack of definition on the project results in something quietly rebellious, but curiously unsatisfying.

Whilst ‘Night Gnomes’ embraces a plethora of new sounds and concepts that make it distinct from the aforementioned album, it still maintains an overarching complexity and sonic ambition that listeners of old and new can revel in.

'Cruel Country' is neither ironic, nor frivolous: it’s a sprawling double-album that stands as one of Wilco’s best, an ever-moving meditation on the quest for connection in a country that’s often cruel but always worthy, in Tweedy’s eyes, of forgiveness.

A body of work dotted with pop anthems tied together by poetic, angsty lyricism.

Unfortunately, HAAi’s music here tends to be a bit stiffer, forgoing the benefits of a heady groove in favor of direct impact. If you’re up for it, it might well help you ascend, but it often feels like a forced way to go about it.

C’MON YOU KNOW is the broadest of Liam Gallagher’s three solo albums, and also the deepest. It’s the one in which he learns to bare his soul a little, and accept different influences.

A striking, fantastically original work, this is an album that taps into animalistic emotion.

While some of the more Top 40-driven tracks risk getting lost in the mammoth-like production value of his imaginative, left-field hyper pop tracks, the sum of the album is beautiful, intended to be enjoyed by both faithful Flume stans and new listeners drawn to the beauty of a cacophonous, glitched-out style popularised by super-producers like SOPHIE, Danny Harle, and more.

A body of work that will bring more comfort to longtime fans of his like a big fat hug around the middle, it’s packed with enough pop chops to rattle stadium floors, and dominate the kitchen radios of the casual listener for a while to come yet.

A heart-wrenching collection of songs that urges the listener to give themselves over to this album as much as Ethel Cain gives herself over to you.

At times pretty, at others curiously appealing, ‘AIR’ is more-often-than-not simply boring, ca selection of mood music that fills up space without every truly saying anything.

The rawness to his vocals add grit to a sound definitely polished, but not sanitised. ‘Some Nights I Dream of Doors’ may shed the crudity that helped build intrigue around Obongjayar, but there’s enough here to excite the faithfuls and attract new members to ‘OB Dream Corp’.

Admittedly the aural range she executes on the project isn’t massive but it does prove to make a cohesive second album and what she does present shows an incredibly polished sound that doesn’t disappoint after such a monumental first album.

While elements of ‘Every Shade of Blue’ may struggle to cut through its over-ambitious production value, the album is bound to translate well on the big stage regardless.

Brilliant stuff is still very much spooling out of Thom Yorke. His voice is revelatory on these tracks, better than ever, a peerless instrument; buttery and mellifluous in falsetto, snide and viperish on the growly bits. His magpie instincts for a tart one-liner remain razor sharp.

‘Mr Morales & The Big Steppers’ is one of his most profound, complex, revelatory statements yet, a double album fuelled by sonic ambition, the will to communicate, and Kendrick’s staunch refusal to walk the easy path.

A dance party to release your demons to, they cast yet another lyrically beautiful and musically capitulating spell.

Just as grand as one would expect from the German rockers, ‘Zeit’ is a disorienting, glorious dose of Neue Deutsche Härte. Thick with charisma and a sharp sense of theatricality, this is another certified classic.

‘Come Home The Kids Miss You’ illustrates that he’s not quite there yet, but he’s certainly Justified.