She’s certainly an artist following her own vision: one which may sometimes grate, but is never less than intriguing.

It’s a fun, if inessential, listen and more proof, if it were needed of course, that Lambert is an excellent interpreter of other people’s songs.

It shows him to be a musically omnivorous artist, should any proof beyond Field Music’s albums be required.

As far as third albums go, this is definitely more of an Ultra Mono than a Skinty Fia – a consolidation of their position rather than a leap at greatness.

At 55 minutes, it’s arguably too long, and some of the less memorable tracks could probably be filed away without taking too much away from the album. Yet only dEUS could end an album with Le Blues Polaire, a six minute song sung entirely in French that switches from dirty, grimy guitar rock to hypnotic drone several times.

Perhaps some of this record suffers from thin songwriting but the drops, so clearly the main attraction here, are characterful, razor-sharp and banging.

While some of the guestless songs feel weaker – or at least thinner – than the collaborative works, they still fit the sonic theme and don’t rock the boat too much. Overall, this is another lovely entry into the Gorillaz discography.

Although this is undoubtedly a niche record, the sound of Smith and Unthank singing together is always a spine-tingling delight.

There’s a truly startling album lurking somewhere within Moore, but she’ll need to start taking a few more risks for that to be unleashed.

Optical Delusion is messy, and it certainly doesn’t display the focus of the Hartnoll brothers’ career highlights, but you’re never more than five minutes away from a musically inspired moment.

Abrasive yet euphoric, Pigsx7 continue to supply the world with wired and vivid records.

This Stupid World sees them further consolidate their position as alternative treasures.

Above all, though, there’s McAlmont’s voice, which has lost none of its sexiness and agility in the years since he arrived on the scene in his partnership with Bernard Butler. ... While all of the musical elements may have a strong element of reminiscence about them, the lyrics are bang up-to-date, and not always as cheerful as the sound-world suggests.

When RAYE is self-consciously rebelling against the mainstream it results in some of My 21st Century Blues’ worst music, whereas on the best tracks we hear an artist who fully deserves this victory lap and more.

There may not be too many surprises on Get Up Sequences Part 2 (and it works perfectly well as a double album with its predecessor), but there doesn’t really need to be with The Go! Team. It’s the usual shot of audio adrenaline, and they still sound as life-affirming as they did nearly 20 years ago.

This isn’t the Coxon of Coffee & TV or Freaking Out, nor indeed the Dougall you may remember from the perfect girl-band pop of Pull Shapes. Instead, it’s a mediative, often beautiful record that often has the capacity to surprise and delight. Just be sure you like saxophones.

Heavy Heavy is a short, sharp blast of energy that never outstays its welcome. ... The year may be only one month old, but the first truly great album of 2023 has arrived.

When it catches fire, as on Unholy, it sounds terrific but those moments are too few.

The friends have created something memorable here – not just to bring attention to serious causes, but to captivate and delight all those who stop to listen.

Furling is a collection that rewards repeat listens to allow it to fully embed into the consciousness but once it does its soft, rarefied treasure has much to offer.

It is arguably one or two songs too long, but otherwise AudioLust & HigherLove is a strong pop music record – disposable, yes, but with a songwriting sensibility and deep house production that means it works on several levels.

The band have fully reasserted themselves, taking equal parts past and future to make a record that fits the present day like a glove. Twenty years in and the fires are still burning brightly.

Having done so with great assurance, he has made an album of lasting appeal which responds well to repeated listening.

If you need a soundtrack to your 90 in 90, this is it. The pitfalls, the purity, the piousness of recovery. Just promise you’ll listen to it at least three times. It’s worth it.

Mercy may have a few forgettable tracks, but an artist with John Cale’s long and varied history will always find a way to intrigue the listener.

It is the finest achievement of Coombes’ solo career so far, a magnificent record – and the feeling still persists that there is more to come.

As usual the positives far outweigh the negatives. As a surprise shot in the arm to get the year off to a good start, this is a very welcome New Year present.

By the time we reach final track A Hollow Skeleton Lifts A Heavy Wing it’s noticeable how familiar the songs already seem to feel, a special quality that confirms the album to be significantly greater than the sum of its individual parts.

At just 36 minutes, Every Loser never outstays its welcome – instead, it’s a short, sharp blast of energy that sounds impossibly refreshing.

No Thank You could be forgiven for resembling a victory lap, but it is a triumph in its own right, cementing Little Simz’s position as one of rap’s essential voices.

If SZA needed to prove that she’s still at the top of R&B, she has succeeded with emotional heft, piercingly astute lyrics and a versatile delivery: with more than a few similarities to Mr. Morale & The Big Steppers, SOS is perhaps the best break-up record since TDE’s last one.

An envelope-pushing record, admirable in its ambition even when the thread gets a bit lost.

Hadestown may have gained her success through her successful harnessing of external inspiration but by turning attention inwards on this occasion she’s delivered one of the quietly outstanding albums of the year.

The Hospot may be a fictional place, but Warmduscher have created the kind of soundtrack that makes it feel like the kind of place we’d all want to hang out in.

It’s a beautiful record to immerse yourself in and just lose track of time for a while – once its myriad charms have become apparent, you won’t want to listen to anything else.

Though the magic isn’t always present on This Is What We Do, there is still a creative drive that makes the case for Barnes’ continuing relevance into the 2020s.

If the album spent more time doing what it’s good at we would have a classic on the level that Stormzy seems to be aiming for.

Like much of Richard Dawson’s material, it’s an album that has to be immersed in and savoured – and although it may be a struggle sometimes, there’s nobody else out there making music quite like this.

Nas is not a perfect rapper in 2022 but the chemistry on King’s Disease III works well enough to paper over the shortcomings, leaving a focused, well-executed release.

A startlingly confident and welcome comeback for Rose.

In many ways, it’s the perfect soundtrack to a world struggling to emerge from a pandemic. ... If there’s a criticism to be had, it’s that it all sometimes seems a bit cold.

His first solo album in six years, The Work is a comfortable record, accomplished and at times even gleeful in its kitchen-sink approach to sound design.

It brings its fair share of frustration, but Christine And The Queens’ third record is undoubtedly interesting, a lateral progression if ever there was one.

Alpha Zulu is certainly a top-tier Phoenix record, bringing back that effortless French cool in a way that only they can.

This is another very good, solid album from the Swedish siblings with a fair bit of typical brilliance scattered throughout.

All in all, this is a more mature, deeper developed sound for the band and will help us warm the cold depths of winter through toe-tapping riffs and clever lyrics.

Admittedly, this is pretty much Bruce does karaoke, but when it’s done this well and with so much obvious love for the source material, it’s irresistible. Volume 2 can’t come quickly enough.

MK 3.5: Die Cuts City Planning is diverse, lively and mostly encouraging.

The album does not disappoint; on the contrary, it’s unbelievably good. Sporting sharp vocals, compelling riffs and potent lyrics, this is a stellar release.

Whereas some Avery albums have struggled to convince, the work here is fleshed out and artistically vibrant, the only noticeable weakness being an overly goofy ostinato on Lone Swordsman, though IDM had a few of those in its time. All in, Ultra Truth is an accomplished, moving record.

It’s introspective and understated while never failing to get its message across. He may not receive the accolades and acclaim that the likes of Stormzy or Dave garner, but Hugo is more proof that Loyle Carner is one of the foremost names in UK rap and hip-hop.

Their music loves to have a good time and get a sweat on, but can’t help flashing a thought or two in the direction of life outside the club. Add a healthy sense of humour and you have a tried and tested album right up there with their best work.

The third instalment in his Actual Life series continues the concept of an artistic journal, but fails to convey the intended poignancy.

While her 10th album doesn’t make instant classic status like 1989, and Evermore and Folklore remain her masterpieces, it is still an understated, beguiling look into the mind of one of the biggest pop stars of our age.

No half measures or quarters are given, and as a tribute to Pierre Henry it is a fitting piece of work indeed. Yet the lack of human feeling continues to be a problem, and the unremitting bleakness of Oxymore – though accurate for our age – makes it an album for admiration rather than love.

Simple Minds, then, are in extremely rude health. Where once their lyrics spoke of international politics and far-off destinations, now they deal with matters closer to home in a refreshingly direct manner. More power to their maturing elbows.

The Car, the band’s seventh album (and is the exact same length as their second album Favourite Worst Nightmare to the second) is another step further into the cinematic world they created on Tranquility Base. ... This band have continuously captivating for nearly two decades now, and Alex Turner must be a generational talent. So clearly this is a great album.

We have an album that diversifies Jepsen’s sound in intriguing ways, while sounding a bit rough around the edges at times.

The songs often look upwards, preoccupied with celestial bodies as they speak of the moon, the sun and ultimately the stars, for which the music often pines.

If Dirt Femme is the sound of Tove Lo finding her feet, the future seems very bright indeed.

Mesmerising as the words and delivery are, the album is also musically excellent.

Like low hanging fruit plucked fresh from the vine, the bacchanalian temptations Daniel and collaborators such as Angel Deradoorian, husband MC Schmidt and John Wiese offer are a scrumptious treat in which to indulge.

FOREVERANDEVERNOMORE remains an engaging, expansive and thought-provoking album.

This is a sumptuous and rewarding way of spending 60 minutes. YTILAER shows how he keeps raising the bar creatively, consolidating his place in the upper echelons of alternative rock in the process.

Perhaps, but there do seem to be less of them these days, and Being Funny In A Foreign Language represents a gradual, encouraging maturation for the band.

Quiet The Room is the perfect introduction to Helen Ballentine’s hazy, dreamy world – a world you’ll want to spend an awful lot of time in once you experience it.

Coping Mechanism is full of feisty attitude, blaring guitars and rhythmically intense drumming, and sees Willow positioning herself as the edgier Olivia Rodrigo with mixed results.

There’s a lot to take in on Tableau – maybe, at times, almost too much – but it’s another solid record from West Yorkshire’s very own experimental art-poppers.

Some of these tracks are cruel in their brevity.

Throughout this eventful record Flohio keeps a clear sense of lyrical and stylistic integrity, and by the time Against The Grain’s glitchy percussion cuts out to reveal solitary reverbed chords we’re left with one of the standout rap albums of the year.

As a whole, it’s a robust LP, deeply in touch with the zeitgeist of an era marked by, indeed, surviving against, the odds. While surprises are few, fans will find plenty to satisfy here.

The constant barrage of guitar noise and distorted vocals can become exhausting, but those who stick with it will soon find themselves falling for one of the most compelling, magnetic albums of the year.

Even with 14 tracks, Blue Rev never seems to outstay its welcome. That’s probably helped by some curveballs that the band throw.

There are songs on N.K. Pop that stand squarely alongside some of Heaton’s best – he may have celebrated his 60th birthday earlier this year, but that famous fire of his shows no sign of being extinguished.

As with all Björk albums there’s a lot to unpack and it requires several listens before it all begins to fall into place but, once done, there’s a case to be made for this possibly being the best Björk album (and certainly the most animated) since 2011’s Biophilia certainly in terms of breadth, aesthetic and overall engagement.

The Bible, like a lot of Lambchop albums, probably won’t be to everyone’s taste – some may find the constant electronic treatment of Wagner’s perfectly decent singing voice to be a bit grating, for example. Yet it’s the sound of a man ploughing his own furrow, and producing yet another unvarnished gem of a record.

There’s plenty of ambient music that dwells in moodiness and tonal shade, but sunlight and heat like this only comes around roughly once a year.

It’s their shortest album to date – just eight tracks, with a little over 30 minutes for a running time – and, as with Mosquito, there’s less emphasis on Zinner’s incendiary solos now, in favour of a smoother, synth led sheen. When it kicks into gear though, they still sound magnificent.

It may be nearly 35 years since The Charlatans signed to Beggars Banquet, but for sheer scope and invention, Tim Burgess knows no bounds.

Not all their ventures are successful, but with a final play on words it’s more Power to Editors’ elbows, for once EBM takes a firm grip on its listener it does not let them go.

At other times these arrangements can feel a little staid, but that doesn’t keep Weather Alive from being an engrossing listen especially as Orton dominates the proceedings so expertly.

Branch’s lyrical savvy and clear communication keep it well clear of the mundane, though you get the recurring impression that she is capable of taking a few more risks.

Lyrically and stylistically our protagonist spreads her wings much further than before, making a statement of intent that confirms Sampa The Great is in this for the long haul. The sky really is the limit on this evidence.

The sheer brevity of the record means that it doesn’t really feel like a ‘proper’ record as such, but it’s still a lovely listen.

It’s simply another good collection of melancholic indie-rock – and sometimes, that comfort in familiarity is just what you need.

It’s imbued with a spirit and attitude that only the very best pop records have. Much like Dua Lipa’s incendiary second album Future Nostalgia it’s the sound of not just a step up but a whole leap to a new exalted level of pop excellence.

A band who, three decades into their career, still sounds as fresh and exciting as they did when they first began.

Expert In A Dying Field is the sound of a band going from strength to strength.

Diablo is a sonically powerful record with a clear sense of identity, and this helps to push past any shortcomings as Gurnsey remains a great producer and one to watch in the alternative electronic milieu.

At times, you do miss Romy providing the balance to Sim’s vocals, but this is, in its own way, as successful an xx side-project as the In Colour album has been. As an antidote to the long wait until the next album by the full band, this is a must listen.

If the sound of Beyoncé‘s similarly sonically adventurous Renaissance whetted your appetite for challenging, demanding soul, then Sudan Archives’ latest could be just what you’re looking for.

This is an astonishing debut album, one to immerse yourself in and live with for weeks, if not months – an intoxicating statement which announces one of Britain’s most exciting new bands.

Not all of the tracks are wholly successful, and on occasion the vocal clarity is hidden from view. Yet that barely matters, for the fierce spirit remains. Spirituals is both old and new at the same time – drawing on the human spirit, but using cutting edge electronics to do it. Playing to Santigold’s strengths through inventive beats and melodies, it is a fine return.

Despite the classic approach of most of the songwriting here there’s no doubt that it’s a step up in quality for Nesbitt and the result is her most assured and confident collection of songs yet.

A fair criticism might be that Let’s Turn It Into Sound is a little formless, reliant on the novelty of whizzing sounds and pomp-filled arrangements, but in the hands of Aurelia Smith these certainly have the capacity to amaze and astound.

An album which could well be one of the best released this year – and, in its pleas for solidarity and acceptance, one of the most important and vital records as well.

Jacklin has an uncanny knack for documenting her generation’s anxieties and issues, and wrapping them up in songs you’ll be humming for weeks. She is quite the talent, and going by Pre Pleasure, she’ll be around for quite some time to come.

Lyrically and (especially) musically, it’s business as usual on Will Of The People. It’s huge, over the top, and ever so slightly ludicrous – and yet, there’s an exhilaration about this band when they click into place.