Proclamations of his greatness may be slightly exaggerated, but Cosmogramma certainly adds to a deservedly growing reputation.

It's an adventurous, seductive and plush exploration of the depths of progressive and popular metal.

Shields is full of both genuine surprises and moments of transcendent beauty.

his is a mid-career highlight from one of the finest lyricists and sonic set-dressers this country has produced. It’s a little bit silly, a little bit raunchy and a whole lot of fun. ... Simply put, JARV IS… a winner.

The integration of beats, synths, strings and piano offers an uninterrupted, textured suite that is as assured as it is enveloping.

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.

Off Off On captures something of how the world is right now. It has moments that encourage us to turn off and seek escape, but at the same time also provides energy to help us to re-engage with the world. In short, it’s a perfect soundtrack to help us through these pandemic-dominated times.

It’s remarkable the album sounds so cohesive and richly defined.

Unlike those other Radiohead solo and side projects, you can easily imagine The Smile appealing to more than those aforementioned obsessives. As a soundtrack to these unsettling, rather terrifying times, you won’t find many better composers than Yorke and Greenwood.

The legions who bought and enjoyed El Camino are sure to enjoy this unofficial second helping and those who yearn for more of the freakier blues of Rebennack's 1960s heyday are certain to agree this brilliant gumbo is just what the doctor ordered.

Though it might not be as rewarding a listening experience as Cooder's Cuban albums, this is still a set that demands repeated hearing, and I doubt there'll be another record as lovingly crafted as this all year.

It is an album by a band at the very peak of their powers--one that will make you want to throw your hands up and surrender to its magnificent beauty.

This is not the King Push we were led to expect, but it is a quality record in its own right.

It is a celebratory record, a special piece of work with deeply thought sentiments that leave a mark on its audience from the first listen to the most recent. The rich orchestrations celebrate the world around us, discovering it to be far more colourful and expressive than we could have dared expect.

Both music and subject matter are sometimes claustrophobic, but the whole of Kitchen Sink is infused with a humour and empathy that opens the album out. It might be on point, but it never feels overly worthy; it’s a truthful account told in engrossing style.

Schneider’s assessment of the impact of digital advances, while pessimistic, is not without nuance. ... Schneider is capable of breathtaking beauty as a writer – unafraid of exploring direct melodic communication and stirring arrangements. There is also plenty of subtlety and nuance in her writing, so this communicates honesty and sincerity more than earnestness.

It all adds up to the best Du Blonde album.

The National were worried that they wouldn't be able to follow up Alligator, that fans would be disappointed. Boxer proves their fears ungrounded - and that Alligator was no one classic wonder.

The Mountain is by some distance the most ambitious Gorillaz album yet, a multilayered musical tour de force that brings meaningful strands of hope to the deaths, chaos and delirium.

A bold, energetic collaborative record. ... If another project were on its way with a bit more polish and focus that would be ideal, as the two certainly have a madcap chemistry that deserves to be explored further.

This album feels perfectly formed as it is though.

The use of the church organ is a particular masterstroke and it imbues Hecker's compositions here not with grandiosity, but with a sort of faded grandeur that chimes brilliantly with his familiar themes. It also offers a superb range of texture and sound, sometimes attacking and aggressive, at others soft and warm.

This record, more than any from their back catalogue, is a slow burn. It doesn’t have the spiky malevolence of North American Scum or the punchy pull of Daft Punk Is Playing At My House, but it does have depth to spare. Sonically, it’s the richest record they have produced.

We Will Always Love You is an emotional rollercoaster, and a lovingly put-together tapestry that signals The Avalanches entering the 2020s as vibrant as ever.

This is an album that stands next to Fear Fun or I Love You, Honeybear as one of his finest, and if he intends Mahashmashana to be his own personal cremation ground for his persona, then it’s a hell of a way to go. An inspiring return from one of the most creative, interesting artists out there.

She’s adept at building a vibe with subtle unfurling layers but the songwriting is sometimes less of a priority, especially in the second half – this stops the album being as dynamic as it could be. Nonetheless we have sparks of inspiration, an appealing vocal register and more infectious rhythm sections than one can shake a stick at, which surely portends a warm reception in the club scene.

Saving Grace is just a testament to the joy of making music – a true ensemble piece where every voice and every instrument serves the songs.

Without a doubt, the hooky riffs and unforgiving pace make it a fantastic rock album in itself, but only Fucked Up would chose to play out a tragedy to this soundtrack.