All in all Suga is a very promising work, an enjoyable snapshot of a rapper becoming a bona fide star.

Island isn’t an album that provides any easy hits – it’s more of a record to luxuriate in and discover its charms gradually. Lockdown conditions mean that it’s easier than ever to immerse yourself in this grandiose music, and those that do will find much to lose themselves in.

It’s never an easy listen, sure, but there’s method to the madness.

If this is their worst album, and you might believe that it is, then they very well may be the best band in the world. If quality is more important that quantity, then they must simply be the worst band in the world. It’s all about perspective, and at 80 minutes and 22 songs, you’d expect some measure of clarity to emerge from Notes On A Conditional Form. What you do get is a Taylor Swift album in the midst of five great songs, five decent tracks and 12 give-or-takes. And that, in today’s artistic climate, is tantamount to excellence.

While a few of the songs could do with a harder edge, that’s not Salvat’s style. What he has delivered is a record that is heartfelt and tender, direct and emotionally challenging, while still sporting enough tricks and flourishes to fill the dancefloor with bangers to spare.

On one level I Love The New Sky is simply a collection of engaging songs but on another it’s a call for togetherness, an appeal to stay strong and embrace life. Whichever view you take it’s very much a record for these times.

The term ‘easy listening’ is a little taboo these days, often replaced with the more benign label ‘ambient’, but these ditties represent the former in every meaningful sense.

A great deal of thought has gone into these covers, now transferred to her own private collection. That does mean not everyone will buy into some very individual takes on well-known songs, but with soul and body laid completely bare, no emotional stone is left unturned.

Working with producer Chris Coady, I Break Horses embrace the power of slowing things down considerably. Many of the songs rarely get as speedy as a trot, and indeed, the opening track Turn, takes a good nine minutes to slowly detail a dissolving relationship. This, then, is music to get lost in, even when the content is at times worrying and dark.

There are a couple of songs that feel a bit like half-sketched filler, means that Williamson’s fourth album may not come across many people’s radar. Yet for those who do chance upon it, there’s much to enjoy.

For the most part, it’s an album of solid indie pop songs that, thanks to Harkin’s habit of writing great guitar hooks and vocal melodies, manage easily to worm their way into your ears.

It’s as good an introduction as any to Sleaford Mods’ peculiar charms.

When it hits the spot, Moby’s writing is still subtly powerful, but when it doesn’t a curious and lasting emptiness remains. This may accurately reflect the imbalances of the world, but as a musical work it ultimately feels off-kilter.

The result is immersive, experimental, bubble-gum, intense and deep with stunning layers – and echoes the lockdown zeitgeist.

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

Stephen Merritt and his many collaborators have made a wildly varied and highly entertaining album that reads like a book of poetry and plays like a soundtrack to a particularly fun (barely remembered) summer.

What Perfume Genius started with Too Bright was strengthened and solidified on No Shape and has been brought into full focus here, and nurtured to full bloom.

A record that doesn’t always astound but has a fair few enjoyable moments, and some very effective vocal performances.

An album that feels alive and joyous in its creation and performance.

There are moments on Good Souls Better Angels that recall mid-’90s Neil Young in its focused fury and righteous anger – some may be put off by the rather grim tone, but if you’re seeking a soundtrack for the end of the world, you’ll find none better than this.

Clocking in at under 25 minutes, Do You Wonder About Me? is just shy of feeling like a fully-fleshed project. But with bags of potential, it’s an album that makes you excited to see what self-confessed “slop pop” exponents Diet Cig choose to do next.

Slight quibbles aside, there is plenty of gold to be found here.

Those familiar with Modern Studies’ previous two albums won’t find much in the way of surprises here but overall, The Weight Of The Sun is the most developed and assured they’ve sounded to date, very much falling into the ‘rewards deep listening’ category.

On paper the sound palette on Scramblers is bracingly limited, drum machines pushed to their limits and bare-bones accompaniment, and in the hands of a lesser producer the record could well become irritating and tedious. But the sound design, sparse and abrasive though it is, is playful enough to keep energy and verve pulsating through the album’s brief run-time.

While there’s nothing that tugs at the heartstrings as much as Metarie did all those years ago, Dear Life is a reminder that Brendan Benson remains a terrific songwriter. He’s still too much of a quirky proposition to make it big, but Dear Life is a great big burst of sunshine in an all too dark world.

This is a mixed bag, and is – unfortunately – a bit of a momentum killer.

In general there is less percussion than previous Austra albums, which heighten the intimacy in songs like How Did You Know. The exception is the clattering set of drum fills towards the end of It’s Amazing, which disappears in a swirl of harp-like ripples. Yet HiRURiN, as with previous Austra albums, is all about the voice.

Simply put, his music seems alive, and utterly modern – despite its clear and obvious debt to The Beatles. ... This is a staggering work, a monumental achievement – and easily eclipses any of Jones’ acting to date.

One of his best albums and deserves better, confirming Damien Jurado to be an artist operating at the peak of his powers.

Over the past decade Ghostpoet has crafted his own niche, one in which dramatic instrumentation is paired with his inimitable drawl, and this record further solidifies the style that he’s known for, albeit with a few missteps along the way.

The 10 tracks on her debut are all lovingly crafted, but the languid atmosphere means that they sometimes drift into each other.

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.

A more brisk runtime and shorter tracks – as on 1981’s Lustwandel, for example – could have elevated the record to greatness, but as it is Wahre Liebe is a diverting collection that showcases Roedelius’ sonic prowess well.

What makes Shortly After Take Off work is the attention to detail, both musically and lyrically.

It means that while O’Donnell’s work is hopeful and evocative, and will undoubtedly calm the troubled mind – a very big plus in the current climate – it may also leave its audience wanting more by its end.

Fetch The Bolt Cutters isn’t the easiest album to listen to – and in these claustrophobic lockdown times, some may baulk at spending 51 minutes with an album of this intensity. Yet while it’s certainly not an album for background listening, those who are willing to invest some time in it will be rewarded by one of the most remarkable records released this year.

A more radical shift in that direction might prove fruitful, but sadly The Don Of Diamond Dreams feels like aimless indulgence from a group that are capable of much better.

Womb contains a world that is by nature red in tooth and claw, and Purity Ring have found a way to marvel at every single aspect of the experience.

It’s been well worth the wait. It’ll probably a while yet before his main band are back in action, so in the meantime, Earth should fill that gap.

Song For Our Daughter is a return to what made her so widely admired. These are songs of undoubted depth and longevity that can provide moments of relief and solace to those in need.

There’s the bones of at least three spin-off albums within its grooves. Yet, this constant shapeshifting means that there’s much to be discovered and loved here. Sounding different every time it’s played is the mark of a great achievement.

For there’s a lot to enjoy on I Feel Alive, but the general feeling of lovelorn listlessness can take its toll on a full listen.

It may not have the immediacy of old Walkmen songs such as The Rat or Angela Surf City, but these stories of New York characters have a charm and subtlety all of their own, which is rewarded by repeated listening.

The New Abnormal lacks the electronic edge of Angles, it has little of slapdash power pop of their debut, and it certainly doesn’t take as many risks as their third (much underrated) record First Impressions Of Earth. There are shades of the old power on Brooklyn Bridge To Chorus, the best song on the record – but don’t ask yourself how it compares to, say, Car Seat Headrest.

Stoddart has obviously brought out a new, more experimental side to Harvieu, as Revel In The Drama is a much richer listen than Through The Night.

Everything seems to hang together in its own peculiar way, to deliver an overall experience that’s unfailingly interesting, although perhaps ultimately lacking the truly special, standout ingredients needed to elevate Webb’s solo work to the kind of rarefied levels he helped Talk Talk achieve.

Are You In Love? is arguably not quite as immediate as Good Advice, with some songs taking a few listens to really find their feet. It may be one for more long-term fans than one that will provide her commercial breakthrough, therefore. But anyone who devotes some time will be able to give an answer to the question that the title track poses.

It is just one of the many avenues Bowie could have gone down, but the effect of what he has done is fascinating and wholly satisfying.

Musically it is arguably the best thing the band have done..

In common with a fair amount of Little Dragon’s previous output though, New Me, Same Us seems to work better in small chunks than as an album as a whole. There’s something about the smooth, glossy sound that means that, after a while, each song seems to merge into one.

Whilst it’s good to see another side to the band, it’s the sheer spiky pleasure of their more direct moments that stand out.

A record of many highs.

It Is What It Is sparkles with inventive songwriting, chunky production and pervasive good vibes, a worthwhile addition to any R&B or jazz fan’s collection.

Migration Stories is a slight album, and a brisk listen – but it is a totally accomplished project.

Melt Yourself Down have always had jazz antecedents and connections but they’ve never sounded more like a jazz band than they do here. While this album sometimes struggles to maintain focus in its thematic range, the music never misses a beat as it reaches far and wide.

A masterfully constructed – and sequenced – collection of songs to get lost in over the coming months.

With barely a weak track to be heard, it all adds up to an album that sees Waxahatchee move up to another level. It’s the sound of a woman at peace with herself, and Crutchfield’s newfound serenity makes for a wonderful listen.

While as a whole it’s disjointed, and the variation could hinder its success, Arbouretum have undoubtedly released another good album.

The whole sonic approach on Abolition Of The Royal Familia is at once a lot more coherent than The Orb’s previous record, the transitions between different genres and moods more methodical and well-paced.

It may be the antithesis of Shiny Happy People, but this Beat Poetry is never anything less than compelling.

This is just simple, honest-to-goodness, feel-good rock ‘n’ roll, and the world is better for it being out there. More like this, please.

This vibrant, audacious collection of pop bangers signposts the way.

Where Avery was perhaps a little formulaic with his previous record, Song For Alpha, here he is inventive and reinvigorated, and Illusion Of Time stands out as an emotional and enjoyable, if bracing, release.

Of course this is a great record. Of course this is essential listening. At this point in his career he’s still getting better, and that’s a scary proposition.

There is more of interest on Sixteen Oceans than on 2017’s New Energy, and there is certainly nothing here that’s outright bad, but Four Tet is still stuck in something of an artistic rut.

All in all, Put The Shine On is a stunning update of the classic CocoRosie sound.

This is a fantastic record, and yet another reminder of how good this band are. Nothing seems out of place, not a single riff or beat is wasted. New styles are performed with vigour, and the band sound energised and refreshed. An essential release.

Superstar doesn’t quite hit the heights of its predecessor – at times, it feels like the whole concept of the album’s theme is getting in the way of creating a fully flowing album. When it works though, there’s enough evidence that Rose is still very much a superstar herself.

La Vita Nouva is a deeply personal and cathartic album and is certainly one that requires more than one listen. Each time will lift you up into a higher state of consciousness. A dramatic and unbridled return to a new beginning.

The two albums she released under the Saltland name may have established her credentials as a composer in her own right but Waxing Moon feels a more personal, considered release that should give her the confidence to explore and develop her sound further.

Traditional Techniques is neither a revelation nor a disaster, it’s neither a winner nor is it a loser. Simply put, this is a very, very niche record that will likely sink, never to be seen again, as soon as Pavement step foot on the Primavera Sound stage in June (coronavirus permitting). But if you were to give it a few spins, who knows where it might end up taking you?

The Long Goodbye is a fiery yet thoughtful and nuanced record, with artistry and political consciousness on a level above most British rap.

The decision to segregate different moods and styles into these contrasting releases was a risky one, but it pays off in that both records remain interesting for their duration. Princess Nokia is for the most part a great rapper, but can sometimes lapse into an artless earnestness, as this enjoyable but patchy diptych demonstrates.

The decision to segregate different moods and styles into these contrasting releases was a risky one, but it pays off in that both records remain interesting for their duration. Princess Nokia is for the most part a great rapper, but can sometimes lapse into an artless earnestness, as this enjoyable but patchy diptych demonstrates.

They may never reach the heights of 20 years ago but England Is A Garden shows them to have reached a level of reliability, consistency and competence that many other bands would gladly take.

His potential is audible, his aggressive performance on Name being a great example, but Errol is hopefully a stepping stone to a more actualised sound.

What we all need is a great new rock band that draws on a forgotten corner of the music of yore, and The Orielles definitely could be that band – but there’s nothing here that will make you put away your old records just yet.

The Main Thing offers no grand statements, no needless experimentalism, no left-turns or tacky rebranding. It’s just Real Estate, doing their thing, and doing it better than anybody can do it, no matter how hard they try.

From the outset, A Situation is a black hole of an album: cold, dark, even nihilistic. It’s easy to get drawn into the music but it doesn’t offer any obvious exits or conclusions.

There’s the feeling that, behind her mask of the anthropomorphic goddess of climate change, maybe, just maybe, this is Grimes’ most honest and reflective album yet.

Suddenly finds Snaith in his element, writing beautifully endearing tunes and setting them to multi-layered production in a way only he can, and the results are spectacular.

Overall there’s a risk it may ultimately prove too personal and introspective a listen for some.

In the right London bar, on the right night, bands like this can change your life… but for everything else, there’s much more joy to be had in the originals.

For someone as forward-thinking and experimental, playful and funny as King Krule, Man Alive! is just too dull of a work to celebrate.

Cape God has an experimental edge to it that makes it one of the most delightfully weirdest albums of the year.

Overall, this is just another Ozzy Osbourne solo album, for better and worse. It succeeds in its rawness, its slapdash cobbling together of predictable riffs and lunatic poetry.

There are many joys to be found within its brittle, opaque sounds but it’s undoubtedly an album that must be lived with for an appropriate length of time for these to fully surface. Yet, this isn’t a bad thing.

This is a spectacular, rich and luscious album made up of a variety of sounds that many listeners will have etched into their minds and hearts forever.

Ultimately, the whole album is a triumph of collaboration and should be seen as a celebration of the artistic vision of Rob Marshall. There’s not a misstep on a single track, and there’s a depth here that rewards repeated listens.

This is now their third consecutive release with the same line-up, after a period of instability threatened to sink the band. It’s also their most focused album since Tomorrow’s Hits, and it might be their best since then too.

Despite it taking four years to come out, pretty much all of the songs on Always Tomorrow are forgettable, and made up of riffs so basic and hooks so anonymous that you’ll probably end up wishing they’d have waited a little longer.

A curious mix of musique concrète, poetry and Ranaldo’s longstanding metier, avant-rock. The near-absence of guitars means that there is a sparseness to some of the tracks, but the prominent percussion, combined with samples and effects, makes for an industrial feel on many songs

A Pilgrim’s Tale admirably tells of a fascinatingly swashbuckling adventure into history, but in shining a light on the fate of this people it contextualises how so often that history is authored by the victors.

Green Day have become the very thing they once despised: buck-chasin’ mild boys of mayonnaise corporate rock.

Whilst the songs can feel painful and direct, there’s also a sense of euphoria and celebration here too, and the overall sense is one of healing and catharsis. This is Frazey Ford’s best album to date but it really feels like she is just getting started.

Those that have heard lead single Yummy will essentially be able to form their view on Changes without listening to it: if they find it icky and monotonous then that will be how they perceive the whole album, whereas those that think it’s catchy and well-produced are well and truly in luck.

Have We Met is one of Bejar’s most interesting so far. But the grating oh-so-indie-look-at-me lyrics bash against the beauty of the beats. Maybe, just maybe, Destroyer should focus on soundtracks from now on.

Loom is an intense record, full of feelings of loss, confusion and angst. It’s also an early contender for best electronic album of the year.