The process seemingly thrived on capturing ideas when they were half-finished, and this ruptured, fragmented approach gives ANIMA its character--tearing down productions, reigniting processes, this is a wild, careering feast of sound.

Madlib continues to provide the backing that allows Freddie Gibbs to shine, choosing to predominantly stick to slower, authentically instrumental led soundscapes across the LP.

With a low-fi high-five feel, The Black Keys appear to gentrify the rock’n’roll rodeo with an album of carefully poised tunes adhering to the rock-pop formula they spent their golden years trying to avoid.

The album’s snappy 10 track run-list positively invites further plays, perpetuating this desire to keep the cycle going.

Everything about it works, from the lo-fi artwork, to the lingering samples, measured basslines and sedate beats, but there is a feeling of urgency and gravity to these tracks.

Whilst the album could do without a cover of Billy Joel's ‘Just The Way You Are’, it doesn't detract from the overall feeling of warmth threading through this project.

An arresting, astonishing experience, Schlagenheim is a vital, stunning, puzzling album, one that demands to be heard.

Shea Butter Baby manages to meld contemporary R&B with other sounds like soul, funk, and blues, all while introducing us to the Ari Lennox of today – and the inspirations that guide her every move.

Picking up exactly where they left off, The Raconteurs’ denim-clad early ‘70s reference points are in check, delivered in gleeful, exuberant, electrifying fashion.

Ronson’s ability to tap into each artist’s strengths and dig out their particular prowess allows each voice to shine through and own each individual track. This is what elevates the record to a guaranteed award winner and a truly empowering listen.

The result is their lushest sounding project yet.

Jinx isn’t really a narrative anyway, more a fine assemblage in which a slightly eldritch weirdness is balanced with pop nous. It certainly feels like Crumb are on the cusp of something here.

The three piece are as creative and alluring than ever before, and it solidifies the band’s place at the top of their game. Through wide-eyed vulnerability and reflective song writing, False Alarm is a game-changing record for the future of indie-rock.

Even as the production’s impact dips in the midst of playtime, when the final note of ‘The Seed’ plays what’s left in one’s memory is only the good, and for that Aurora’s latest album succeeds.

While it isn’t as immediate as ‘Everybody Down’ or as viscerally brutal as ‘Brand New Ancients’, there is a new maturity here. Tempest is baring her soul, and scars, for the world to see – she doesn’t need to rage to get her point across. There is a powerful understatement to this album that yields more secrets with every listen.

Nostalgic, melancholic, worrisome and finally joyful, Doom Days is a production that leaves you with optimism for a better tomorrow.

Experimental production combines with soulful pop here, as we see Jordan Rakei is at his brightest and boldest.

Madame X isn’t just an album (if it is that at all) – it’s an opera, or a comedy of errors. It’ll make you feel confusion, frustration, happiness and maybe joy, but it will definitely make you feel.

Western Stars is an understated triumph, righting the wrongs of his last few releases and more than emphasises the fact that Springsteen is still brilliant enough to be invested in.

A return to a more DIY approach delivers plentiful psychedelic sounds and heady hooks, emanating joyful warmth in spite of a seething thread of cynicism amid troubling political times.

With plenty to digest, there’s no lack of ideas, if maybe a lack of focus. Stripping this back to a leaner, focused synth set might have injected a bit more punch. That said, Office Politics finds the underrated genius as acerbic and creatively inspired as ever.

The end result is a rewardingly eclectic mix, if not slightly discombobulating.

ZUU is an experience that transports the listener to a specific time and place. ZUU is further proof that Denzel Curry is one of hip-hop's most interesting and progressive MCs.

On Ignorance Is Bliss, Skepta is back with a renewed hunger and sense of purpose, overcoming a new set of challenges and proving once again why he is a grime mainstay.

Sacred Paws feel like they have figured out how people listen to music ie. as part of playlists rather than albums, and have set out to write a collection of songs that will fit perfectly into the popular picks in your three minute indie summery vibe playlist, a place where a fair few will nestle in nicely.

Right now it sits near the top of 2019’s jazz releases. However, if things continue in this fashion it might not even make the top ten by the end of the year, which is an exciting prospect to say the least.

The ambition behind Apollo XXI was already easily perceptible on singles like ‘Playground’, whose energy could best be termed ‘Yung Prince’, and becomes clearer still over the course of its other 11 songs.

Sule Skerry is a hymn to the sea, and it certainly feels that way in places: there’s a gentle ebb and flow to its ambient pieces which rarely threaten storm’s break, save perhaps the more urgent arpeggios of ‘Lump O’ Sea’.