These monumental tunes are totally bewitching from start to finish with heartfelt moments and deep intent packed into every second.

A solid addition to his discography and undoubtedly more unforgettable than his debut.

Perhaps it’s their captivating storytelling taking a psychological turn, or maybe it’s the way they’ve incorporated cutting edge electronica, pop and R&B elements into the melodic energies of classic new wave, alt-rock and indietronica, but, ‘Fix Yourself, Not The World’ is a record that will appeal. It is arguably their best work yet.

Whilst it’s nice to hear a change of pace for twigs (and to, on occasion, genuinely hear her laugh), there’s not as much focus on experimentation and expression, which could disappoint some exacting fans.

A fantastic release, ‘SICK!’ pushes Earl Sweatshirt into a new chapter of his work, while adding further context to what has come before. The production work is impeccable, its dizzying imaginative flurry the perfect hinge against Earl’s lyrical precision. Short but emphatically creative, it presents an entire universe to explore, with its finer details laying in wait for repeated listens.

‘Covers’ feels refreshing and invigorated.

With a solid foundation of beats, introspective lyricism and a sharp pen at his disposal, Nas might be the only rapper to have two releases in the best albums of the 2021 conversation. Magic.

A work of subtle evolution, it’s a record that rewards repeated listens, with patience allowing these fresh elements to rise to the surface on an album that underlines Bonobo’s role as one of UK electronic music’s most consistent, and pervasive voices.

It’s certainly frustrating at first, especially if you’re expecting another dubstep masterpiece. But it grows on you given openness and attention – the kind of attention that Burial has earned through years of consistent brilliance. Love it or hate it, ‘Antidawn’ is one of the most unique releases you’re likely to hear in 2022.

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.

‘Now or Whenever’ is more of a grow-er than a show-er but has much to show for itself.

An attempt to sidestep presumptions and carve out new space, ‘Transparency’ could be the most unexpected move of Twin Atlantic’s career.

The outer edges of this album are impressive, but why couldn’t they penetrate the main parts of these songs and this album more? Instead, they are eye-opening but ultimately useless ideas that must make way for the dry 808 beats we’re all too familiar with.

While casual listeners might find the overall listen a bit sparse, there’s no doubt it’s the perfect soundtrack to a Halloween party, or indeed a Halloween Movie™️.

With its mixture of wonky psych, fiery funk, and jazzy jams, this may stand as the label's most eclectic and enjoyable compilation of the year. If you love to groove, look no further than this set of scorching songs to keep you moving during the dark, cold nights.

Ultimately, ‘They Got Amnesia’ succeeds in its ability to balance punchy, straight-up rap with a tinge of the bittersweet.

Ultimately ‘Fighting Demons’ works almost as a tribute record, gathering fragments of his undoubted genius. Whether it’s a true Juice WRLD album, though, is another matter.

With features from Blxst, Yungeen Ace, Future, and Wale – amongst others – ‘Richer Than I Ever Been’ is shamelessly entertaining, the work of an artist who knows what his audience wants to hear.

Literate and honest, it doesn’t always connect, yet with 90 minutes of music to explore it’s a project that demands time and patience to truly absorb.

It’s very much a record that stands on its own two feet. These are excellent songs. Not only that, but given the isolation and anxieties of life in 2021, it’s easy to find commonality in these tales of hope and strength amid troubling uncertainty.

While it’s not an unqualified success, ‘An Orchestrated Songbook’ is still an intriguing, at times fascinating exercise.

Overall ‘Barn’ is a solid Young and Crazy Horse album. The songs a layered with all that good stuff you want a Crazy Horse album to have. Crunching guitars. Laconic acoustic numbers. Mournful harmonicas. Catchy choruses and a sense of urgency. While this isn’t a classic Neil Young and Crazy Horse album it’s pretty close.

A 23 track double album, the compositional sense at show on ‘Old Friends, New Friends’ is worthy of Satie or Sakamoto; opener ‘4:33 (a tribute to john cage)’ blushes with intimacy, while ‘Late’ and ‘Berduxa’ are blessed with a twilight pensiveness.

‘The Bridge’ is so much more than a clever concept album, there are links between each of the songs and the prolific musician takes to the theme like a duck to water (sorry!) and whilst water is the common denominator, it is really about connection - connection between people, life and death and more.

What ‘Fleuves de l'Âme’ shows are that some albums are worth the wait as ‘Fleuves de l'Âme’ shows a delicate balance of killer melodies, tradition playing and contemporary electronica.

This is Hopkins’ strongest album to date. It is also his bravest. Which is saying something indeed.

It’s an eclectic mix, and the quality’s as variable as the sound. But by jumping from style to style, and showcasing artists who really ought to be better known, Snoop keeps the party as scrumptiously enjoyable as his recipe for Spaghetti de la Hood. And that’s all he’s really trying to do.

An album with novelistic depth, when ‘30’ turns once more for its London-rooted conclusion, Adele seems to reach a new level in her stratospheric career.