Lyrically ‘All My Heroes Are Cornballs’ feels very stream of consciousness full of political commentary, the concerns of living in American 2019, whilst being engaging, humorous, and informative.

Charli is no doubt an album of too many features and too many parts, but it somehow all fits together in a way that allows her penchant for unconventional songwriting and her ear for an exciting melody to work in concert, creating a project better than most anything she’s done in the past.

With 'The Return', Sampa The Great expertly dismantles the notion of genre, proving that, when it comes to art, what really matters is content, not labels.

Transcendental trance with some fierce poetry and song? Colour us impressed.

Though they might be mellowing in their age, that doesn’t mean to say they’ve compromised an inch, and 'Beneath The Eyrie' proves just that.

Hypersonic Missiles is packed with high octane hits, all of which translate into an impeccable record. Sam Fender’s debut is brave, confident and evocative.

‘The Competition’ gets a hell of a lot right, and you get the feeling for album five it might finally all together perfectly.

At seventeen tracks it's a purposefully meandering ride, one filled with funky instrumentals and ambient vignettes. While songs such as 'Lately', 'Insecurity' and 'Sex Emoji' show the band has not lost their ability to deliver funky floor-fillers, it's the more subdued material that really shines.

Gallagher remains an excellent interpreter of others’ lyrics, but he takes the skill further here and it results in a collection of classic songs drenched in melody, accompanied by clearly expressed, noticeable lyrics.

On an album centring around concepts of storytelling and reflection, Iggy Pop’s voice remains phenomenal. It always will. However, an underwhelming feeling lingers throughout 'Free', one which is hard to ignore.

Post Malone still provides us with a sprinkling of the classics: bitches, butts and Millie on wrists, it’s appeasing. But for the most part, he created an insightful and eclectic record which is a testament to his versatility and willingness to do exactly what he wants.

At the end of this journey, we’re left not only with a playlist you’re itching to put on repeat, but also with the a much-needed notion of an inspirational woman made much stronger- much more in love with herself- by the trials and tribulations of her life.

Ultimately 'Saves The World' is a bold, colourful, lyric return, one that is asserting while remaining utterly honest, completely true to themselves.

It is an interesting concept -that could have become a beacon for the perspectives of (male) feminists in music- that failed because it was executed poorly a few too many times.

Despite being heavily influenced by the 80’s, Lost Girls has a timeless feel and is sonically pleasing.

THE S.L.P is safe. It’s the untainted evidence of a missed opportunity. Frankly, someone of Serge’s caliber could have plunged deeper into the void of sonic exploration. There’s always a next time.

Whilst the lyrics are direct and, in your face, the production is just as precise and thought out. It flows with Kano’s quick pace and ability to turn on the heat so quickly. The album offers 10 tracks of quality and meaning over the meaningless repackaged corporate sound that is found more often than not in this day and age.

Those who found Whitney’s honey-coated tales of love, loss and yearning to be just a bit too smooth the first time around are likely only to strengthen their convictions. For those themselves yearning for another dose, this album should definitely satisfy.

It’s a magnificent experience. ... If you’re not a fan, or never heard of them before this is the perfect album to start introduce yourself to them. ... Because: trust me on this, it will hold your attention.

Happiness, for Lana, is a process. This album is a testament to her afresh stability and strength, and shows that hope might be a dangerous woman for a thing like her to have — but she’s finally got it.

GINGER is new ground for Brockhampton, and a gentle nudge to others, urging them to go on their own paths of rediscovery and explore their roots. Thing is, we might need a bit more than a gentle nudge.

Ultimately, the album’s highlights are those songs where the voice and sentiment we hear is truly her own, the enthralling, stirring, emotion- manipulating voice that’s threaded its way through every album since her 2006 debut, not the voice that leans too close to what the pop music machine demands.

It’s less Nick Drake-y than Lay’s last effort, and it feels more self-assured and hopeful.

Like most King Gizzard records, it runs out of steam in the second half, but when ‘Infest’ rips it rips as hard as some bands who have been making this music for decades. Like the modern thrash revivalists, King Gizzard combine youthful energy with enough of their own inimitable style to make this excursion into the cobwebbed world of thrash fresh and interesting.

She’s past and future, concurrently. With that in mind, the Swedish-Iranian singer may have released one of the definitive breakup records of the year.

His most cohesive, and delightful, to date.

The Murder Capital offer authenticity, honesty and truth aplenty, it has already become difficult, if not impossible, to imagine a vibrant music scene without them and there is a sense that this album is only the beginning of their compulsive journey.

This album is purposely ambiguous. By omitting such boundaries, it offers a storyline recognisable to everyone. Love is universal!