Tallulah is classic Feeder, and it is hard to think of anything more fitting for a 10th album.

Sometimes they feel almost too airbrushed, with Mabel playing it a little too safe to qualify being described as wholly original or progressive. There are moments of talent and flair, but it would’ve also been refreshing to hear more personality (and less autotune). Nevertheless, it’s an album that contains some real highlights.

On what is his tenth studio album, he proves why he’s achieved such longevity in the fickle game that is rap. Tracks such as 'Turnpike Ike' showcase the four-time Grammy nominee at his very best, while his willingness to delve into topics outside of his luxurious lifestyle add a depth and gravitas to the record that make it a worthy successor to the original thirteen years on.

Both bold and filled with bravado, yet layered and emotional, YBN Cordae is able to convey his desires, hopes, and fears in an ambitious and well-thought out format. A strong debut from an artist who knows that he is capable of long-term success.

From the shoegaze-tinged jangle-pop of 'Future Love', to the dreamy indie of 'Clouds of Saint Marie', Ride sound incredibly fresh-faced.

Any Human Friend is powerful, sexy, and self-assured - pretty much exactly what we expected from Marika, but even better.

This is a sound of a warm, human futurism. A record that feels impressionistic and abstract, dominated more by feeling than theme. Heavy sounds deployed deftly. Sometimes it feels a little fragmented (like on the slightly off-kilter swagger of ‘We’).

While Live at the Troxy does a good job of trying to capture and recontextualise the Fever Ray live experience, it doesn’t quite pull it off. This is down to trying to capture a 3D, 360 degree experience in mere audio: you get an idea of how good the gig was, but it doesn’t quite do it justice without visuals. However, Dreijer and her vocals – their clarity, and her charisma – are still the stars of the show.

Additions such as Kash Doll and Juicy J are perfect on paper, but beyond justifying their individual presence in the rap realm, do little to save a project which unfortunately suffers from the sophomore slump.

At this stage of their career Nérija are a solid and virtuosic group, who have delivered two pretty flawless releases in less than three years. If this is what they are capable of now, imagine them when it comes time to make their next album. And that’s something to get very excited about.

A brilliant debut that positions her as one of the brightest young songwriters operating in this age of internet bred pop stars.

This is the Bollywood-tinged, swinging disco album you deserve.

Impressive, but there are misses as well as hits here. Sometimes Cuco’s vocals and lyrics don’t match up to his sonic atmospheres.

There are strong highlights across the set, despite this, the failure to be concise forms part of the force's biggest downfalls.

Luckily the album is the group's strongest and most enjoyable album to date. ... There are moments however when things quite work as well as on their previous albums, but these are the moments that are the most interesting and exciting.

African Giant is a cohesive piece of work. The tracks have a subtle dancehall theme which threads through them. 19 tracks may have been too ambitious in this case but Burna Boy is an example of why African music is gaining popularity and becoming more mainstream.

Soundgarden moved admirably forward with a strong new L.P, and while the performances missed some of the vitality of their youth, they still were able to invoke a tone and vibe all of their own.

Tycho never loses sight of what he is known for: the skillful mastery of crafting brilliant ambient soundscapes from bare computer programs. And believe it or not, his sound here is that much more captivating.

Not every track is as strong as ‘Black Skin Girls’. ‘The Lion King: The Gift’ showcases what Beyoncé can do at her best and most creative, yet consistency is an issue with this eclectic album.

Each song presents itself as a story-in-miniature; a perfectly crafted beginning, middle, end (albeit sometimes the artistry of the track makes the listening experience more middle, end, beginning).

It is a very enjoyable, incomparable album, with moments of extraordinary depth.

The first four tracks and ‘Take It Back’ are some of his strongest so far. It’s a gratifying epilogue to last year’s effort. He’s clearly sitting on a lot of good stuff, which we’ll have to hear soon.

It’s a worthy project, one that demonstrates to the listener just how much METZ crushed from day one before reminding them that they haven’t stopped crushing it since.

Designed as much for the dance floor as smoke-filled bedrooms, this album is a window into the mind of a producer refusing to be defined by, or reduced to, a singular style.

Overall, No 6 Collaborations Project is an eclectic mix of songs, some familiar, some forgotten after the first listen and some deeply impactful.

This record is about living, even as it is shaped by loss. They make the tiny changes, as the grieving do. Re-frame what is left, and keep him alive within.

III is definitely a progression for her as an artist. The more upbeat tracks are interspersed among softer, more delicate, heartfelt ones that represent the duality of her personality and also increase its replay value.

The album as a whole is smooth, straightforward, and well-ordered, and bears lyrics that are an ode to both Goswell’s and Clarke’s musical genius.