The result is that Pyramid is an imperfect and uneven album that satisfies two different audiences, as the front half is packed with wandering jam band noodling while the second half tightens into a slightly more focused and rhythmic set. It's just a shame that Jaga Jazzist wasn't able to give the listener a more cohesive and unified version of what they were trying to achieve with Pyramid.

It's a release that somehow feels like it has less to prove from a duo not quite overdue for their follow-up to a huge success.

Skullcrusher's debut points to Helen Ballentine's undeniable skills, particularly as a melodist. A bit more distancing from popular templates, however, may have served to further distinguish her work from that of her abovementioned contemporaries.

What looks like an odd couple cover album at first glance turns out to be one of the best matched and executed collaborations of which either group have been a part.

Indistinct Conversations doesn't so much pare back as it does reveal depths: Powell's putting their inner life on display, and giving it the full range of space and volume it deserves.

No Horizon pairs ecstasy with pensiveness, using experimentation, static, tension and texture to push Wye Oak's skills ever forward.

B7 is meticulous in its references to pop and R&B history, of which Brandy's own career is such an important facet.

The propulsive spark that lit their debut lingers, keeping the record from drifting off into malaise.

While Brain Candy does lose creative steam towards the back end, there's still plenty here on offer for those looking for a reprieve from the oppressive reality of day-to-day life in 2020.

With progression and reinvention a staple of Romare's work, we can only wait in anticipation for his next release

The music slides along with a relationship to various genres that is curious and sincere while not making a firm commitment to any one, and with a depth and complexity that underlies the gentle waves on the surface.

There is very little melody on The Upward Spiral; the sounds are more like drilling, sawing or machines beeping than traditional instrumentation.

Swift is still unquestionably a pop artist, and folklore is unquestionably a pop album, albeit a quiet one — and as is the case with most recent pop albums, it's about four songs too long. It's hard not to wish that Swift would apply her written concision to her tracklisting, to do away with the stream-grabbing bloat and deliver something more thoughtfully tailored. Still, it's hard to complain about too much of a good thing.

It is emotional, redemptive and leaves an indelible mark on the listener. Andrews provides a raw, honest and unflinching look in the mirror of a failed relationship and finds herself; it's a story as old as time, but somehow told more achingly beautiful here.

Lanza zooms between feelings and situations so nimbly that every time you revisit All the Time and the accompanying artwork, it's just as easy to imagine a freewheeling Lanza doing gleeful donuts in that parking lot as it is to envision her having a breakdown behind the wheel.

Lianne La Havas is boldly authentic and infused with passion.

On paper, the inclusion of saxophones, bass clarinet, flute and cello should make Ultimate Success Today expansive. In practice, the auxiliary musicians often add the sonic equivalent of extra seasoning to an already good dish; it's often unclear whether Protomartyr needs the addition.

Free I.H: This Is Not The One You've Been Waiting For is Illuminati Hotties defying the record industry while balancing purposefulness and playfulness at the same time.

As certifiable members of rock royalty, the Pretenders hit all the right notes with this latest entry to their expansive catalogue. Hynde teases at the borders of the expected, without disrupting the core formula that has contributed to the band's longevity — unwaveringly authentic as ever.

Every step is like the last, every dune made up of the same inconspicuous pebbles. Species can make for an exceptionally trance-inducing listen if you have it in you to push past the monotony.

While EG.0 holds Goulding's mainstream radio hits, it's Brightest Blue that has evolved Ellie Goulding as a songwriter. She's created two distinct spaces on this record, which allows her to continue her musical evolution while simultaneously maintaining her pop throne as pop royalty.

Both sides of the coin show all the trappings of a '90s Warp Records release, which we know has been done before, and is certainly nothing new for Avery, but damn if he doesn't do it well.

Much of this material would be hard pressed to directly sweep anything off The Waterfall in its wake, but the The Waterfall II is enjoyable closure to those who will soon turn to anticipate the next new album My Morning Jacket have on deck.

The Chicks have always had strong backbones, and Gaslighter shows that their conviction hasn't faded in their time away – if anything, they've only become more indignant, more willing to explore, more ready to speak. It's an inspiring, swift-footed return.

The Ghost Inside proves that the band are back to operating at their creative peak, with an expert synthesis of theme, composition and delivery that makes for their strongest material to date.

Massey Fucking Hall captures Japandroids in this unique (for them at least) setting at the peak of their powers.

Though their music can be playful and funny, 100 gecs are very much not a joke. 1000 gecs & the Tree of Clues makes it clear that Brady and Les know exactly what they're doing and that they've got an army of highly inventive and creative supporters standing with them.