‘Music Of The Spheres’ is never less than listenable, but rarely raises the pulse.

Unsettling at times, with moments of quiet intensity – ‘Geist’ is the vulnerable soundtrack to a person’s self-discovery during a period of long, hard reflection.

A record that refuses to divulge its secrets immediately, ‘Life Of A Don’ is packed with immaculate sonic detail while also relishing a certain directness.

Abnormal and mystifying, audiobooks amplify bewilderment on a remarkable second album.

In all its floaty, seductively numbing glory, 'Good Morning It’s Now Tomorrow' is an exceptional work of chamber-tinged indie songwriting.

A nine-track opus of gorgeous musical exploration on their own terms.

The LP’s home stretch is up there with Blake’s best, not just in the tense penultimate title track and wet-cheeked closer ‘If I’m Insecure’, but on the lead single. ‘Say What You Will’ shows off the magic trick Blake’s perfected by now. Vocally, he’s unsettlingly beautiful.

Even in the albums more heightened and banging moments, there’s consideration and a message, lyrics worthy of a proper listen. By drawing on his own experience and stories, Sam brings politics to his music in a way that’s more impactful than anything Keir Starmer is doing at the minute.

Continuing to give airtime to these softer, more playful moments could see Showalter achieve greater success in mainstream circles.

Spread across 18 tracks, Meek Mill's creative contouring isn't fully consistent, leading to some awkward moments; 'Love Train' and 'Love Money' feel insubstantial, while the mid-section loses its punch.

The sonics are strange and hard to recreate: they are forward thinking but in some ways ageless, a natural fit for Tirzah’s magnetic voice.

Existing in a different realm to ‘Chromatica’, it’s testament to Lady Gaga’s astonishing breadth, and the timeless effervescence of Tony Bennett.

At times spread too thin across its 17 strong tracklisting. ... ‘Trip At Knight’ serves to finesse his sound and approach, allowing room for Trippie Redd to attempt new projects within his digi-focussed framework – it’s a chapter so many of his contemporaries have been cruelly denied.

It hardly moves mountains as a standalone effort, but is moderately impactful and somewhat befitting of its lofty pandemic-era presentation.

‘Dawn’ is the product of years of curation, brimming with emotion and beautifully articulated lyrics.

This offers an unparalleled listening experience. Each quality – the gorgeous vocals, the radiant tones, the graceful guitar – manifests enlightened bliss. The expertly blended transitions between each track transform them into puzzle pieces that fit smoothly together.

With Johnny Marr-Esque riffs, life-affirming lyrics that have a sincerity, depth, and wisdom beyond their years, the Lathums are cementing themselves as one of the UK’s top bands.

Poppy is ready to leave her mark upon the world again with this hook-focused album that favours front-to-back consistency over constant mayhem and it makes you wonder what’s next.

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

Big, bold and ambitious, it’s both a welcome return and a statement of intent.

The main takeaway from ‘Dawn Of Chromatica’ however is Gaga’s curatorial ability, and the even strength of talent on display. Capable of moving from Ashnikko’s playful digitalism through to the ballroom energy of the Jimmy Edgar and Bree Runway take on ‘Babylon’, it’s a relentlessly entertaining display.

While the pop-facing moments may not appeal to all, Tommy shows her dexterous talent and the extent of her creativity on ‘goldilocks x’.

González hasn’t changed much since his 2003 debut ‘Veneer’ but his fans won’t be disappointed by his new project and will surely be glad to have new songs after waiting six years.

It’s an impressive record, albeit one that’s often difficult to get a foothold on.

Injury Reserve’s new album is a truly dystopian impression of despair, smashing together polar opposite genres to create something wholly new.

‘MONTERO’ excels the marketing spin by delivering one of 2021’s most daring, riveting, and honest pop statement.

This isn’t a project for newcomers. ‘Springtime In New York’ – taken as a five disc whole – requires patience, and a degree of love for the core texts.

The amount of moments of contemplation away from the mosh pit benefits the listenability of the album, though its overall sequencing is blotchy and still more like a mixtape.