The real fun of Cooler Returns, though, lies in the clever details that you might never understand, no matter how many times you listen.

The formula certainly has its merits though, and Bicep bring them to the fore better than most on Isles, and all with an appealingly late-night, cosmopolitan flair, where ghostly fragments of Hindi, Turkish pop or Bulgarian choirs are just as likely to hover among the neon synths as the usual breathy trance sirens. It gives the album a bustling, urban energy that very much works in its favour, even if its style might slightly outweigh its substance sometimes.

On Magic Mirror, Charles may be self-doubting and even gloomy at times, but she never loses her glowing spirit and hope for the many more adventures her life will lead her on.

Sullivan is often overlooked as the R&B master she is, but her latest project displays the vocal range of legends before her, demonstrating her ability to capture the qualms of life and love relevant to the realities of dating in the age of the internet.

The first half of Spare Ribs is actually quite slowed down and weird, which isn't necessarily a bad thing, but it doesn't complement Williamson's vocals as well. ... The title track and "Thick Ear" absolutely steal the show. Sleaford Mods have shown they can do it slow, but they're still much better when they floor it.

While the constant need for creative freedom and instrumental variety means that Drunk Tank Pink begins to meander towards the record's back end, a handful of sprawling epics showcase Shame's enviable talent for vivid storytelling.

Though it's not pushing boundaries, Reluctant Hero proves metal can be catchy without being stupid. If melodic groove metal needs a hero in 2020, it's Killer Be Killed.

Created in a time of distress and despair, Fuck Art is pure escapism. Looking back 20 years from now, you'd have no idea it was made during one of the most world-changing events of the past century; the only thing apocalyptic about it is the ground-shaking sound of a cranked-up Marshall stack.

While still lighthearted and filled with humour, it's a massive shift from previous releases, both musically and lyrically, with plenty of hints of more to come.

By not only fearlessly facing grief, but also honouring Justin's sly humor, raw vulnerability and nimble songwriting, Steve Earle fittingly sees his young Cowboy off into the sunset.

With CEL, nothing is simply uniform, which makes for a compelling listen every time.

There's lots to enjoy here for old and new fans alike.

Instead of collapsing under any pressures with his new band, Mercer enthusiastically pushes back with this album, shrugging off any doubt that he is done reinventing himself as an artist.

She takes a left turn after her more recognizable house palette in the first half of the EP.

Over the three-song run of "Alfred's Theme" (which jacks Charles Gounod's "Funeral March of a Marionette," best known as the theme music to Alfred Hitchcock Presents, to delirious effect), "Tone Deaf," and "Book of Rhymes" (which climaxes with a flurry of DJ Premier scratches), Slim Shady stuffs more rewind-worthy punchlines and flow variations than most rappers will deliver in a whole career. ... Other attempts feel more forced. ... More compelling are the two tracks produced by D.A. Got That Dope.

His music already transcended time, but with the completion of this trilogy he has drawn a link through the past 50 years with his virtuosic compositions.

Cudi sparkles in the first two acts. ... While satisfying, the most endearing and powerful standout moments appear in the third and fourth acts.

The sheer breadth of talent that Robert Chater and Tony Di Blasi have assembled is dizzying, their collaborators as imaginatively selected as their samples.

While retreading folklore's ground, evermore deepens and enriches its older sister's world.

In its entirety, the collaborative effort is compelling; Plastic Bouquet is the furthest thing from a plastic collection.

Origin of the Alimonies is an opera, complete with three acts, an overture and an interlude. Sonically, it picks up on past Liturgy motifs: minimalism, black metal, classical music and electronic beats. The scope and scale, however, is incredibly vast.

Tasteful inclusions of every kind, powerful melodies and dense, wry lyrics make Tim Melina Theo Bobby an unmissable conclusion for fans of Midwest emo, electronic rock, and strong songwriting.

This isn't a Sigur Rós album, and that's just fine. Lack of reverb-soaked bowed guitars notwithstanding, this collaboration vividly reimagines a bastion of medieval Icelandic poetry. The only issue is how long it spent under wraps.

While BE is a slight departure from BTS's usual offerings, its more matter-of-fact and laidback vibe could pull in new fans who are looking for music to relate to in this crappy year.

The album peaks when Cyrus finally delivers retro rock-inspired collaborations with both Billy Idol and Joan Jett. These two champions of 1980s rock bring some grit to the album, taking Cyrus into the heavier direction she's been teasing for years.

Most of the material just hovers around the same tempo, tone, lyrical style and sound dynamics, robbing the listener of any sort of emotional peaks or valleys that are so important when floating a double album. It's simply a shame that the execution of Cyr fails to match the naked ambition Corgan's concepts promised.

Her party-girl braggadocio feels more nuanced by recent tragedy. Yes, listeners are blasted with sex-positive bangers that bounce from wall-to-wall, like the infectious "Body," which will surely be gentrified by White TikTok in the coming days, but these moments are made human next to moments like "Circles" where she reflects on recent trauma.

In allowing others back into the fray and stripping their sound, Longstreth has once again tapped into what made the band so engrossing in the first place. 5EPs feels like a restart, a long and considered exhale.