It’s a brilliant record, even without the weight of history behind it, and a classic, true heavy metal album from the same band that practically invented much of the genre. Essential for fans of any of the forms of metal. Obviously.

This is a fitting debut for a man who to many needs no introduction.

Unsound is a smile-inducing slab of post-punk awesome.

An album of bona fide radio hits in an ideal world, a fine example of mainstream rock at its most tasteful, music that’s going to be popular and sell a lot but that’s not afraid to subtly defy expectations of what its makers are.

Not as endearingly obviously pop or as chilled out as their debut, The Enemy Chorus takes some getting used to before it unfurls it pleasures.

Wrong Creatures succeeds far more often than it fails. It’s epic, full of attitude and done with a whole heap of style.

Many Blue Nile classics whispered their way to five minutes without outstaying their welcome, and there's plenty here that could have done the same. It's a minor quibble, however, when an album sounds as lovingly crafted, honest and subtly passionate as this.

This is perhaps not the classic Definitely Maybe has become, but with their army of live followers accumulated since Christmas, combined with that ready made clear charisma and cocky confidence--if anyone can revive Manchester, it is the Courteeners.

Whilst mainstream success is unlikely, the cult appeal of Damien Jurado continues to cause those that do listen to sit up and take note.

I realise that bemoaning the inclusion of crowd noise on a live album is a bit pointless, but when it detracts from the enjoyment of the album then it's a valid grumble. But it's a minor issue.

What’s left is something truly fresh, barely recognisable, a shuddering, bending feast of sound.

There's obviously more to come, but this eagerly awaited debut disc doesn't disappoint.

Dienel and co have surpassed any of their previous efforts, including the incredible debut Phylactery Factory, and the most recent beauty Kairos.

Tweedy keeps up an unobtrusive presence throughout, letting Thompson play to his strengths, and it all results in another reliably consistent album.

It’s the album that New Order fans have been dreaming of for years and it will no doubt be cherished. Even better, you don’t leave this album thinking it’s a good way to go out. For the first time in decades, you leave thinking: what a way to start.

A significant part of The Show’s appeal is down to Horan’s quiet charm – he always sounded far more convincing in his low-key guitar-based tunes than, for example, Liam Payne in his perplexing attempts at club bangers.

Intriguer will have to stand or fall on its own merits. If there is any justice in the world it will be a bestseller.

Strawberry Jam doesn't promise to be something for everyone, but it will certainly please those with an ear for the strange and surreal--even if you will have to sleep with your light on.

An album that laughs at you while pushing you down the stairs, that swaggers right up to the edge of oblivion and does a stupid little dance, that understands the absurdity of it all, but refuses to let that be an excuse for apathy. Who knows why they keep being booked on indie-adjacent bills when they’re one of the most interesting metal bands in the world. This is lovely stuff.

Kinshasa Succursale is bursting with ideas, not all of which hit their mark. It's refreshing however to see an approach to recording and production which doesn't strive for polish and perfection.

Vessels took a bold step in experimenting with their sound and Dilate not only proves it was the right decision, but suggests there is much more to come.

Art Brut have retained their cheeky nature from earlier albums--the riffs and grooves are tight, and the lyrics are clever.

What sets Bleached apart is their palpable energy, consistent catchiness, and the sheer effortlessness of their sound.

The Gates Of Throop And Newport is an emotional work, but it is a collection of songs rich in classy Americana and in affecting melodies. A very impressive second album.

It all adds up to an emotionally gruelling record that’s patently not intended for passive listening. But it’s an album that’s worth steeling oneself for.

After the divisively funky Evil Urges and Z before it (which quizzically drew comparisons to Radiohead, of all bands), Circuital feels somehow both grounded in the soil that spawned it and operatic in scope.

Here Ride aren’t just treading water so much as striking out for the horizon.

Sounding more like Bon Iver than Volcano Choir’s own debut, this offering will surely appease Vernon’s fans most; while it deviates rather sharply from Unmap, there are occasional moments that recall the band in its infancy but it is clear that the four years since the debut arrived have resulted in the band’s evolution--and they are all the better for it.

Ultimately, while not preferable to seeing a live Cooder performance in person, Live In San Francisco is a terrific encapsulation of an unlikely, remarkable career, one that has surprisingly only gotten stronger as Cooder has gotten older.

Callahan emerges from the album with his reputation further enhanced, his artistic trajectory unbroken.

Naysayers may argue that none of the tracks needs to be as long as they are (at 16 minutes and two seconds, We Dream Free is the shortest) but sounds as subtle as these need room to spread out just as a fine wine needs room to breathe.

Emily, Jessica and Camilla have put a new spin on an old formula by reducing their sound to its simplest form--and for the most part it is a success.

Hit Parade provides ample demonstration of her inherent and infectious sense of fun and her propensity for eccentric bops, qualities which have served her well across the decades.

The Like take hooks to the next level by repeating choruses as many times as possible, but the sections are so catchy it's very difficult to get annoyed by the repetitions.

It may not be the good-time party atmosphere that The Hold Steady can provide, but Always Been is probably Craig Finn’s finest solo album to date – it’s almost like a novel crammed into a conventional album.

In The Lookout, Veirs has done what she does best. Instantly recognisable and comforting, she opens her personal world up as safe haven in these strange and noisy times, whilst still keeping you at arm’s length, listening for secrets.

Where Campbell and Lanegan's first album of dusty duets was an unexpected treat, this is less of a surprise but builds on that record's success, exploring the musical chemistry between the two still further.

As it develops, it shows off a new side to them once again, one which wants to make records which draw on their experience rather than trying to do something completely new, and that in itself puts More Light up their with their best.

Bejar has relaxed his vocal delivery a little here, perhaps to better blend with the rich, shiny detail of his music.

What may at first come across as a bottled up effort does in fact reveal astounding complexity on repeated listening.

World’s Gone Wrong is a protest album, almost seething with rage about what’s happening in America. She may be 72 years old and a survivor of a stroke which has left her with mobility issues, but that unmistakable voice remains as powerful as ever.

Indeed, if you are looking for surprises then you won't find many. As well as stellar production, another Fagen trademark is his willingness, even necessity, for songs to run their natural course.

Those people who want authentic, genuine soul will find much to love in His Hands.

Emotional Mugger is a wild-eyed beast of a record; unafraid to stamp through the effects pedals with a delirious glee.

Rooted in the past this album may be, but it has genuine moments of original inspiration, both musically and lyrically, and a scope of ambition most bands would be scared to try out.

The 2 Bears possess charm aplenty in their music making, and with its sheer love of light comic touches, Be Strong is certainly not short on that.

The more that you listen to this album, the more affecting it becomes.

Thousands of artists will have spent the last 18 months writing music about being stuck at home, but very few will have realised said music by banging bits of their actual house. In doing so, Herbert may have produced the quintessential lockdown project.

From the haunting atmospherics to the ‘80s soaked electronica, there is much to love about the album. Those looking for the band that first appeared in 2002, however, will be disappointed--the traces are almost completely gone, so it’s time to accept and embrace the new Editors.

The Unfolding is an album with a broader purpose that conveys its egalitarian, inclusive message with discretion, confidence and superb musicianship. It succeeds in balancing the beautiful with the cerebral, simultaneously existing as both head and heart music.

It's safe to say that Natasha Khan has once again managed to craft an album that ticks all the boxes, while also showing a maturity and evolution from her Mercury nominated sophomore album.

The album doesn't reach the heights of the seminal Black Album but is an exciting opener to a hectic schedule for Def Jam.

At once understated and innovative, her often-crazed genius makes this album, different from what went before yet in its way a product of it, a pleasure to listen to.

It's these hints of darkness, together with an ability to take on several differing styles of music in the course of one album, that make Black Mountain such a compelling listen. They remain a captivating proposition, with an arsenal of powerful riffs now at their disposal.

The two pianists [Craig Taborn and Matthew Bourne] share a penchant for timing, space and reflection that results in refreshingly honest and original work.

The Future Will Come is the kind of album you could listen to loudly in a club, or at home with some headphones and it would suit either. Welcome back intelligent dance music, we've missed you.

For those intransigent souls, there will always those three EPs to listen to. Everyone else can feel free to luxuriate in the wintry delights of this fine record.

Listening to this album is rather like a lucid experience that you never want to wake up from--and it is Sankey and Warmsley’s most impressive record to date.

It is, perhaps, a measure of Wrangler’s combined abilities that they’re able to coax their formula into subtly-defined shapes and guises without LA Spark descending into repetitious indulgence.

Weird it may be, but when CocoRosie get it right, as with the cutesy pop and dark piano melancholy mix of Lemonade, or the beautiful ethereal balladry of the title track for example, they are unstoppable.

Howlin is an intoxicating first showing from a band with bags of potential and, although it loses its way somewhat towards the end, it is brimming with the confidence of a vastly more experienced band.

Everything Everything return with Fever Dream, a brave, boundary pushing album which shows many of their peers how things should be done.

It’s certainly not a record to dip in and out of – this is, without a doubt, an album to listen to in the dark with your finest pair of headphones – but those who devote the time to it will be richly rewarded.

LaMontagne has surrounded himself with the best possible company, and long-time fans should find that the payoff is something to marvel at.

It's difficult to detect any flaws in Attack Decay Sustain Release. Simian Mobile Disco have created a seamless electronica album that can carry the torch for the New Rave movement, and prove there's a great deal of substance beneath the fad to be found.

All involved have created one of the most unusual and surprisingly moving records I have heard in some time.

At its core, throughout the course of Come Into My House, No Kids remain a group of talented musicians with excellent, compelling ideas.

If anyone was intrigued but underwhelmed by Chairlift's debut then they will find much to be impressed with on a second album that is focused, coherent and, more importantly, absolutely chock full of excellent pop songs.

It's another step nearer the masterpiece this band are increasingly capable of delivering.

This is yet another one of those records about escapism, yearning for a bolt of light in the dark, an end to normality. And it finds it, to almighty effect; producing the kind of rapturous charge that no bedroom-dance record has ever assembled before.

There is a lot at play here, both sonically and lyrically, and the album rewards repeated listens. Most importantly, Little Broken Hearts is an album that just works.

With a couple of judicious tweaks to the song choices, this retrospective could have been truly great rather than simply very, very good.

Ultimately, if a Flaming Lips didn't include a high degree of experimentation, you'd be disappointed. Yet when they keep things simple, such as the closing piano led Goin' On, the results are magnificent.

It may not be groundbreakingly new, but All Our Favourite Stories is one of the most entertaining albums of the year.

A fine piece of work here, both profound and mysterious. Hopefully we won’t have to wait another eight years for the next one.

Musically it ranges from coruscating to eerie, from ominous to plangent and sees the quartet operating at the height of their powers. It’s a hard-hitting, ambitious album that only serves to further consolidate the reputations of all involved.

This is the most consistent album to date by a band whose flashes of brilliance hitherto seemed often dissolved in their encumbering desire to set down a surfeit of ideas on each record. Here, their creative energies are reconciled just as the salt doll is reconciled with the sea.

The overall take out from I DES however is of an artist continuing to play to his strengths, delivering another slowburning set of songs full of delicate beauty and affecting warmth.

Therapy is a well-balanced record that plays to Anne-Marie’s strengths, complete with glossy production and hooks to keep the avid pop fan humming.

An album that’s more mature and focussed than Stealing Sheep’s debut, harnessing all of their interesting quirks within a showcase of excellent songwriting.

It’s another intriguing step in the evolution of Everything Everything – it ultimately doesn’t matter whether you buy into the overarching concept of the record when the songs are as good as they are on Mountainhead.

MassEducation is that rare record that works both as a standalone album and a companion to the original.

There are no earth-shattering changes to Linkous' studio-warped rock 'n' roll pastoralism. As there was nothing broken on previous Sparklehorse outings, there is little in need of fixing.

They may not turn out to be a Lee & Nancy for the 21st century, but Gentlewoman, Ruby Man is a massively enjoyable listen and is hopefully only the prelude to more work between the pair.

This is an illuminating and captivating insight into the world of Zero 7. Far from being coffee table fodder, it provides a near perfect chill out soundtrack - easy to relax to, but always rewarding closer inspection, especially deep in the small hours.

The later half is really rather spectacularly ace, in an unexpectedly grandiose way.

This is a strong record, and one made with a singular artistic focus. Senni clearly knows what he likes, and he does it incredibly well.

It is apparent from the start that the album is a valuable piece of work in its own right however and its reclaimed origins should not bring any negative preconceptions.

The good news is that while it’s not better than Hippopotamus, their latest work is just as hilarious, and just as focused.

Black Dog might not be a comfortable listen but its unrelenting power and undisguised starkness demands attention and makes it impossible to ignore.

This is an adrenaline rush of an album, an electric shock in a world of flabby gas. Proof, if any were needed, that it’s possible to reinvent the wheel if you’re committed enough to the spin.

Home is a groovy, infectious and deeply listenable record, recommended for all fans of repetitive electronic beats.

False Idols confidently returns to a simpler, yet contemporary version of Tricky’s working formula.

It’s unlikely that this album will achieve legendary status but there are more than enough signs here to suggest something massive might be around the corner.

My Best Friend Is You hasn't got the immediate freshness of Made Of Bricks, and it can make for a disorientating, uneven listen at times. Yet it's never anything other than compelling and demonstrates that, despite what a lot of people thought when she first appeared, that Kate Nash could well be around for a good few years yet.

The Inheritors is a rich and vivid work that is as mysterious as it is compelling.

In all aspects has Swift built upon her work on Folklore, creating a vast soundscape of poetical stories, and it is only at the end of this album you realise that Folklore did leave you wanting. Evermore also does this, not because it doesn’t reach up to the pedestal of folklore – in contrast, it covers the more complex ground.

AI vocals or not, this is an album that goes up near the top of Caribou’s achievements, a feelgood set of tracks clinging on with determination to the summer, providing a sun-drenched idyll as Europe heads towards autumn. Dan Snaith is clearly in rude health – and with Honey his experimentation has paid off.