It’s an album that’s somehow halfway between DJ mix and a greatest hits compilation, and arguably the best of The Avalanches’ trio of releases thus far.

McCartney produces his most real, immersive, and innovative work, and roles a mellotron in for good measure.

It’s not clear if this is to be the last instalment of the man on the moon franchise, but what is clear is that Kid Cudi is back on track, and with this release, has made his best solo album to date.

‘What To Look For In Summer’ is an enchanting compendium of the bands live work and is an ideal accompaniment to spirit you away to those carefree summer days of enjoying live music.

It's no secret that remix albums are often tricky affairs, especially when meshed with beloved rock songs. Luckily everything off Pony's dark twin is enjoyable, if not essential sounding. Overall, it’s a fun curio worth exploring and saving a few of its more ambient moments.

You can hear the size of her thoughts and desires on this truly stunning record, this genuine opera. They are as big as the universe and everything in it.

Caro’s debut album certainly shines bright and is beautifully off-putting in everything it tries, from its lyrics to its musicality. The effects on you, however, will depend on your ability to be challenged by the music you listen to.

It doesn’t always succeed, at times feeling too shallow for it to be as impactful as Mendes intended it to be. But when it succeeds, there’s no flaw to be picked out and for that it’s worth a listen.

There’s a lingering feeling, though, that 2 Chainz hasn’t quite distilled exactly what to do with the opportunities being presented to him.

A rallying cry for alt-pop insurgency, at its over-sharing best ‘WEIRD!’ firmly places YUNGBLUD as a dazzling Catherine wheel of Top 40 deviancy.

It has moments of great assurance, where drums, strings, and vocals are heavily foregrounded, making it perhaps the most solid or opaque soundscape of the band’s entire career. ... And whilst it is doubtless an exciting prospect to finally hear the work in full and professionally produced, the elusive nature of this work has now dissipated.

Combative, empowering and unashamedly fun.

It’s a Greatest Hits album, not a B-Sides & Rarities collection. What it is is a relatively complete encapsulation (RIP ‘The Air Near My Fingers’) of everything that made people fall in love with this noisy drum and bass duo in the first place.

For the most part, it’s actually pretty entertaining.

No, it may not necessarily have many outside their core fanbase reaching endlessly for the replay button, but its therapeutic nonetheless as the band delivers what they’ve promised ; a personable, relatable collection of tracks that strip away their blinding shine as idols, replacing it with their warm glow of humanity.

Cyrus conveys a jaunting and heartening honesty throughout her lyrics as she reflects on love, guilt, addiction and the business of breaking hearts. In a year shrouded by isolation and starved of social interaction, where individuals have been forced to discover the unexpected joy of solitude, “Plastic hearts” might just be the soundtrack to through this journey as you embark on your very own Rocky-esque beast mode montage of shameless self-empowerment.

Life is about growth, and with this bold, brave project Loski matures as both an artist and a man.

Moose’s accompaniment soars, and subsidies, ensuring that this release doesn’t feel like a mere afterthought late in the release calendar. At a slight 12 minutes, it’s a brief coda to a strange year for the artist, but one fans will no doubt lap up.

‘Cyr’ is, of course, far too long and more pretentious than a Met Gala soiree, but the innate contradiction between the essence of The Smashing Pumpkins and the music they have decided to make does keep the listener engaged for much longer than it has any right to.

‘Good News’ is a triumph, and a late contender for Album Of The Year.

Accept no imitators; SALEM are back and are still capable of giving us the ultimate soundtrack to the end of the world as we know it.

When you listen to the albums back-to-back you get a better idea of who Autechre are and how they see the world. Yes, it is a wonderful place full of natural beauty and hope, but it is also dank and skittering full of people who only care about their self- interest and petty squabbles. Both of which Autechre have captured in exquisite detail.

Stunning debut mixtape ‘Send Them To Coventry’. The 15-track project is a musical kaleidoscope, fusing elements of afro-swing, dancehall, grime, and rap. Sonically, it speaks to the fluidity of Black sounds.

The sound of a band resurgent, ‘Night Network’ will have you falling in love with The Cribs all over again. Tapping into their core sounds and core values, it finds the band emerging from their legal troubles triumphant, relishing the vitality of being able to make music together, in the same room, at the same time.

It’s not a perfect album, though. The vocals effects on ‘Kick You When You’re Down’ are more than a little grating, while ‘No Man’s Land’ feels stodgy, at times even like a chore. That being said, there is quite simply no other group on the planet who can match AC/DC at their best.

‘Sell Sole II’ isn’t quite the breakout moment fans hoped for, but it is most definitely her strongest, most in-depth project to date.

Touches of R&B, the nostalgic beats and the impeccable harmonies that the four produce offer comfort with their familiarity and still manage to feel progressive with the 2020 take on these classic elements of an iconic music era. ... Near perfect pop production.

This open-ended offering brilliantly entices you to extrapolate meaning from it, to attach it to a time and space before letting it fully unfurl.