She’s now surpassed [her debut release] on its follow up Grim Town, which continues the themes of her debut, but with a new emotional growth.

A valiant and partly successful attempt from K-pop’s biggest band to move forward in their music. While they undeniably remain a success, the recycled sonics and multiple references to past music makes it hard for old listeners to let go of past glory and for the new to connect with their current music.

It is a tremendous debut and the quality is beyond question.

He’s managed to successfully replicate the feeling of genuine emotion and human connection that drew listeners to him and his music on his first album, with his second likely to be just as prosperous.

Offering up a mix of pop, hip-hop, R&B and a sprinkling of trap and neo soul for good measure, Lizzo covers all bases and serves the perfect introduction to her world for mainstream audiences.

This album won’t please the fans who wanted ‘Malibu’ again because, simply put, it isn’t. But for those who are excited by an artist unafraid to reinvent and experiment, then look no further.

‘Serfs Up!’ is initially impenetrable, but persistence is rewarding as the band sucks you deeper into their tilted netherworld with each listen. It’s by far their most interesting work to date.

A record that focuses on fleeting glimpses, on liminal evenings and burgeoning mornings, it’s imbued with sublime melodic flair and a lingering atmosphere that echoes after the final note has been plucked gracefully from Bibio’s well-served guitar.

Dublin in the rain belongs to Fontaines D.C., and rather than being too real this album is just right, it is a ragged delivery. The trick lies in the seemingly un-filtered rawness combined with its stark poetic reality. The three components help secure this album’s position as an example of authenticity; authenticity in its most concentrated and truest form and expression.

Three decades after forming, hitting the reset button has unleashed this iconic duo afresh, demonstrating an insatiable ability to forge the perfect dance track, whatever the era. Go get your rave on.

At times this record appears confused and lackluster but its solid moments show GIRLI’s capability at being a rebellious and riotous pop star--qualities that were so prominent on her early singles.

Dusty Notes is an easy listen, but a Meat Puppets album shouldn’t be easy--it should be a hot mess. Somewhere along the way the Kirkwood brothers lost the ramshackle charm that made them everyone’s favourite musician’s favourite musician.

Bold, immersive, and not easy to pin down, Interview Music affords Idlewild the space to find renewal in new ideas, a record driven by conviction, collaboration and the urge towards communication.

With Love Keeps Kicking Martha have delivered 11 brilliant sketches on modern life and all the bullshit that comes with it. Sure, some days are hard, but there's still plenty to celebrate. Like an old mate lending a sympathetic ear, it's a record that helps remind you we're all in this together.

Titanic Rising harnesses convention and refashions it into something singular. At once a document of this “wild time to be alive” and an escape from it, it’s often remarkably good.

It's a more mature record, one that keeps the energy of its predecessor and filters it through new sonic filters. Thanks to its subtle mix of styles there's a timeless quality, the sound of freethinkers finding their feet in a very weird time. Get on it.

Cosmic Wind still manages to set a mood, languorous and lush, perfect on a capital’s rooftop, cocktail in hand, the last sunrays hitting perfectly. But you can all too easily imagine this slotting into some Spotify algorithm, a mood playlist titled “Summer Vibezz”.

This is space tourism, flying first class.

What Peck provides on Pony is music framed in that mould, and in doing so offers a brilliant palate cleanser to the vast majority of overblown, raucous and vapid compositions that have taken over the genre over the course of the last three decades or so.

When We All Fall Asleep, Where Do We Go? is a brave and fortuitous debut album from the LA teen, capturing the hopes, fears and vulnerabilities of an entire generation. The genius in this record is its unaffected relatability.

Badbea is a key part in Edwyn Collins’ remarkable solo career, one that has defied critics and doctors to wilfully do its own thing. A rich, vastly creative experience, it’s a further sign that Edwyn’s work remains something to treasure.

The lush arrangements highlight his sophistication as a songwriter--‘Impossible’ comes on like ABBA gone synthwave--if sometimes verging towards the saccharine with repeated exposure. Yet this latest collection finds C Duncan in rude health.

Whilst for the most part this jam-session approach results in captivating instrumentals and intriguing points of sonic experimentation, at times it can become rather muddled, confusing and drawn-out.

The Road is at once the antithesis of quick-fire culture and the very embodiment of it: a mixtape, picking and choosing the best bits and distilling them into one heady brew. Bring on Part III.

Live in London see as duo with chemistry stronger than ever. Let's just hope their busy schedules make room for the long-rumoured movie. If their past work is anything to go on, it will be gold.

In these trying times, it’d benefit from being a whole lot more confrontational.

His distinctive songwriting style remains, yet it’s the addition of piano, beats, sax and electronic production that gives 'Gratitude' a production sheen most fans may not be expecting. It’s also what lends a progressive edge to the record that takes time to soak in, but ultimately rewards.

The lyrical framework in which he operates is fairly supple and improvisatory, though there are some surprisingly tender lines here and there. Structures and voicings are stripped back but viscid synths and odd, glitchy effects whir in the background.