It is unmistakable that this album has been crafted with the consideration of Chloe Moriondo’s distinctive humour making the album an exceedingly fun listen.

Rag ‘n’ Bone Man has returned with a fine new album that allows fans to fall in love again.

The sound of a band pushing forwards, ‘Endless Arcade’ points to a bright future for a much-loved institution.

A potent debut album. Succinct yet packed with stunning detail, it refuses to take the easy way out, and that stubbornness may see Squid outstrip their peers in a head-long race towards a re-engaged future.

It’s an imperfect album that still manages to shine with catchy singles and gratifying deep cuts, even if never quite reaches the height of its predecessor, ‘OK Human’.

Never subtle but always entertaining, ‘KHALED KHALED’ is a wild ride, a rollercoaster that clicks into gear just as the world begins to re-open.

At times soft, at other times thick with sinew, 'Not In Chronological Order' allows Julia Michaels to parade her immense talent as a songwriter, as well as her charismatic, oh-so-expressive voice.

It’s a ridiculous, and ridiculously enjoyable, treat, a sign that rock and dance don’t have to be at odds with one another. Taken as a whole, ‘Typhoons’ is a daring evolutionary gesture, one that finds Royal Blood claiming fresh ground for the future.

Breathless and perplexed with ears ringing, the live trip of ‘Rare, Forever’ will be a must witness.

Though it might overreach itself from time to time, this is a record with real purpose and drive to it.

Subtitled ‘An Electro Revival’, Richard’s sixth album is nonetheless a sprawling affair; R&B, house and trap jostle alongside curios such as ‘Le Petit Morte (a lude)’ [sic], a break-up jam unexpectedly belted out over Beethoven’s ‘Moonlight Sonata’.

It’s difficult to see ‘Michigan Boy Boat’ winning over the doubts – sure, it’s definite progression, but it feels more like a reinforcement of core values than an attempt to reach out.

Some good, many passable, a few questionable, to say the least. There's plenty here to pick out and enjoy, and that's all that will matter when the single songs are playing in your pocket, but after all the gems the label has given us over the years, 4AD deserved something better.

It embraces you like a hug from a friend you haven’t seen for a while. Musically Ellis has created understated gossamer soundscapes that emphasise the emotions of the poems but don't draw the attention from Faithfull’s voice.

It’s inspiring, and above all else incredibly catchy.

‘Coral Island’ is huge in scope and ambition, while also remaining staggeringly consistent. The bar is set high from the off, and they never fail to reach it. A lazy comparison: it’s as creative as ‘The White Album’ and as unified as ‘Ogden’s Nut Gone Flake’. A truly superb experience, it feels as though The Coral have painted their masterpiece – a one way ticket to ‘Coral Island’ is a truly an offer you can’t turn down.

Her first studio affair in four years, ’11 Past The Hour’ finds Imelda May consolidating her distinctive position within pop’s pantheon.

‘Mutator’ is not an epitaph or vault-scraping footnote; it is a painful reminder that New York lost one of its important critical voices when Vega passed away in 2016.

A world away from his genial role on Saturday Night Television, it’s a 12 strong song cycle that finds Tom Jones doing exactly as he pleases. It’s an extraordinary balancing act, another vital page in this remarkable ongoing chapter.

There’s a wonderful rawness to Porter’s vocals, confronting his troubles of the past with his blossoming musical pallet.

It's another touchdown for the guitar heroes, one we suggest cranking up loud and enjoying in the spring sunshine.

It is an intriguing interpretation that seems unforgettable, leaving a strong impression of him as an artist and this remarkable album.

A record of sheer beauty and one that finds London Grammar at the absolute top of their game.

Not an essential listen, perhaps, but one that will fascinate and intrigue fans.

Hemmed in by their own ambitions, ‘The Battle At Heaven’s Gate’ is an oddly contradictory experience, one that finds Greta Van Fleet truckin’ on up a one way street.

Feels curiously unfocussed, and lacking in purpose.

'Music' is an album that shines its brightest light on Sings himself. Often lending his talents to the work of others - including Rex Orange County’s ‘Loving Is Easy’ and Free Nationals’ ‘Apartment’ - Sings often had to be comfortable on the sidelines. 'Music', however, sees this prolific musician finally move centre stage.

Framed by ‘THE LIGHT’, the record is cohesive, punchy, and succinct.