They’ve created a huge, rich, brilliant documentation of youth, one which will last for years.

‘For Those That Wish to Exist’ is both furious in spirit and epic in scope. A sprawling fifteen-track opus that runs just shy of an hour, it tackles the weighty issues of the day head on.

Soothing to the extreme, but still with enough variation not to lose attention, he’s on to a winner.

His identity is in constant flux, making for a revealing and honest listen from one of the most-hyped artists of 2022 so far.

‘CHAOS NOW*’ might not have much of ‘80s Mancunian misery in its toolbox, but there’s an exhilarating meeting of grunge, pop-punk and indie with hip hop rhythms: Beck if he’d used a palette of early ‘00s MTV2.

The band remain successful at finding lush nuances in their well-established formula and ‘Formal Growth in the Desert’ packs more hooks than any of their albums since 2015’s ‘The Agent Intellect’.

Lime Garden offer a reassuring hand to warm shoulders and a candied melody or ten to sweeten ears. Not only this, but as an album indebted as much to Charli XCX or Bon Iver as it is to The Strokes, as equally comfortable with cello-bowing ballads or auto-tuned pop anthemia as it is with the guitar-chugging banger, it confirms Lime Garden as a band with potential to achieve even higher artistic greatness.

slowthai’s newest is the work of an artist clearly more excited than ever about what he himself can do now he’s booted his own doors wide open. ‘UGLY’ is a beautiful thing to behold.

While it’s not always the easiest of listens, the raw emotional honesty and potency of her arrangements makes it truly a pleasure to have Leslie Feist back.

That’s definitely not to say that the more languorous tracks don’t have their beautiful moments, with the likes of ‘Lonely Blue’ and ‘Sublunary’ providing an emotional apex to the album. As it draws on though, it gets easier to think that a bit of brutality on the cutting room floor might only have been of benefit to The Ooz.

Charming, tender and admirably vulnerable, ‘Build A Problem’ is a profoundly freeing reflection on the struggles of youth, growth and identity.

Ever cathartic, this third full-length from Will Westerman is an elegant, mood-filled wonder from the off.

This is a messy, disorderly but beautifully blissful and idiosyncratic record--and that seems like the statement he’d like to make.

Seven albums in, and with a formula that’s kept its core elements largely the same, it’s largely Beach House by-numbers, but the pair have a gravitational pull that looks like it will never run dry.

This isn’t easy listening. But for those wishing to metaphorically slay an army of deities in the shadowland of the damned? It’s right up your street.

Although the execution of ‘Masquerade’ sometimes feels uneven, there is plenty to be excited about. Whether Cardinals become the next big band to come out of Ireland, only time will tell, but as of now, they’re certainly making a strong case for it.

This fourth album sees Wolf Alice fully embrace all facets of themselves, and through this newfound acceptance and confidence, they’ve produced their boldest, most striking record yet. One for the history books.

Ultimately, on ‘Leon’, Bridges crafts an album that is at once deeply personal, and yet expansive and shared.

Musically you always know where you stand--the sound of a Death Grips record is unmistakable--powerful, aggressive and confrontational. Which leads us on to Bottomless Pit--very much more of the same, while pushing their sound forward.

‘Heaven knows’ pushes PinkPantheress into new realms of utter brilliance.

It’s the sound of a band breaking the reunion mould, making firm strides forward and leaving their legacy in the dust.

'Mutual Friends' is an album that just gets better and better with every listen.

This is an album that sounds like it could've been recorded at any point in the last thirty-odd years.

Reasons To Believe is a worthy, if overtly reverent, addition to the steady stream of Hardin covers.... But some of these covers are overtly reverent because they fail to acknowledge this schism in the dark soul of the man.

The Incessant marks a turning point, as Meat Wave tackle their demons head on.

I Love You Like My Brother builds all sorts of these clean bridges, and though Alex Lahey’s world springs from small images and clean sentences, it says a lot with very little.

1, 2, Kung Fu! is a fun, beautiful, and accomplished reminder of the joy of discovery. It’s the kind of record that encourages you to keep a close ear to its many layers, peeling each one back to reveal a Krautrock pulse here, a soul groove there.

The most important aspect of Future Ruins and Swervedriver is it shows that the band still have something to say and prove. They’re in it for the long haul and, hopefully, back for good to document all our future ruins.