This stripped-back, honest approach exposes the inconsistencies and vulnerabilities of the man, while also bringing to the exterior the charisma and charm of a laissez-faire psych icon.

Though 'Europe' is an enchanting and elegant record, this is not a giant leap forward.

It feels ecclesiastical, like hymns for the digital age.

An early contender for one of 2015’s most welcome returns.

It’s early to say, and its bold for sure, but there are a fair few legendary bands out there that were never quite as good as The Murder Capital are right now.

Nothing Great About Britain permeates everything about this fantastic first record from the soon-to-be-star that is Tyron Frampton.

The power gained from its creation can be felt in the way the band crash their way through its nine songs, and will undoubtedly also transmit to anyone who presses play.

This album brings innovation just when The Japanese House began to need it, and hopefully points to more creative exploration in the future.

The Waiting Room is reserved and considered, yet you still come out of the other end feeling like you’ve run the emotional gamut; in that respect, at least, you have to recognise it as Staples’ strongest set of songs for a good long while.

Stranger in the Alps is as accomplished a solo debut as you’ll hear all year--a quietly devastating listen worthy of Phoebe Bridgers’ obvious influences.

Where ‘Designer’ had shade, ‘Warm Chris’ offers light. It still feels bizarre, like stepping inside a doll’s house or a hall of mirrors, but it’s less garish, and ushers back in some of the vulnerability of ‘Party’.

Sounding like their most ambitious and handsome release yet.

A fresh, vital take on what post-hardcore can sound like in 2025.

Hyperactive electro-punk that effortlessly marries visceral fun with often experimental chaos, ‘Theft World’ sees its creators take some audacious swings and land an endless barrage of colourful, unique and exhilarating blows.

While stuffing itself with enough insight to force its listeners to acknowledge contemporary issues, also present is enough charm and wit to remind us of the importance to having a little fun along the way.

With the emotionally charged beats of ‘Black Mascara’, the candour of ‘Body Dysmorphia’ and the unfiltered soul of ‘Buss It Down’, it would be impossible for anyone to sleep on RAYE anymore.

As with all Dan Deacon albums, 'America' is a challenging listen and at times the sheer amount of things going on becomes a bit much, however it is also a supremely powerful album from a musician at the very top of his game.

On the whole Tiña have managed to create a debut record that quietly paves the way for modern psychedelic pop, and not a loud shirt in sight.

Lyrically precise, and musically enriched with radical keyboard flourishes and arresting song-structures, what is most impressive about ‘Civilisation II’ is how KKB manage to tackle such worldly themes without ever sounding contrived. It’s a testament to a band continuously looking to innovate.

On the whole, the impact of their whip-smart offerings is striking, throughout the album’s staggering seventeen tracks, it does become easy to get a little lost.

Indulgent by design but illuminated with imagination, it takes a few listens for the LP’s diamonds to truly shine, but when they do, they really shine bright.

Monolithic in nature, the world-building on ‘What Happened to the Heart?’ makes a bleeding heart – both for self and the earth – appear rapturous and unfathomably healing.

If he’s trying things on for size still, then most of ‘Wishbone’ fits Conan Gray rather well, his not-quite-angst meeting its musical equivalent in its not-quite-alternative sound.

Oh No doesn’t quite signal a reinvention for Lanza, but a move towards one end of her capabilities, one which consistently brings excitement, energy and openings for new paths for her to head down.

If you like a theatrical sound with a dose of anarchy, quirk and unpredictability, this record comes highly recommended.

I Had A Dream That You were Mine is a record that manages to capture that closeness and intimacy perfectly.

With this record Hopkins has finally succeeded in putting on record a definitive statement of his musical vision and ideas.

The songs only sound sleeker, more melodic, more intensely stoned.