The contributions of an impressive guest list only serve to further enhance this compelling music, which remains uniquely imbued with the spirit of the environment that shaped it.

It's not what you'd call pretty, exactly, but there's a hell of a lot of charm and admirable grit to Young's decision to say bollocks to politeness and tell it like it is.

An album that consolidates and enhances Billie Eilish’s reputation as one of the stellar figures of her generation.

There are some quite beautiful and pop-infused moments to be found sprinkled across the album despite the best efforts of EMA and her co-producer Leif Shackleford to keep away from the ears of the commercial fraternity.

All in all, this is a long overdue return from one of Britain’s most underrated performers, who has matured gracefully from the life-affirming exuberance of his teens into a more reflective but no less compelling voice. Read more at http://www.musicomh.com/reviews/albums/roddy-frame-seven-dials#mgY2PWI5W0BoSmam.99

A very accomplished second album, and you can almost see the band outgrowing their DIY roots in the most subtle of ways.

For all its ’80s and ’90s pop influence, nothing here sounds dated.

The mixture of mournfulness, savagery, lo-fi spirit and noise should appeal to psych fans and college rockers, metalheads and hardcore punks alike.

With their second album The Drums are more absorbing than ever, and have created a record that will last far longer than their first.

This is certainly an album of progression that is likely to win the band plenty of new fans, but it shouldn't alienate their fanbase either.

In lesser hands this mélange of vocalists and styles would be an unholy mess, but with experienced mood masters Raymonde and Thomas at the tiller In Quiet Moments is holistic audio balm to soothe, hug and give hope in these ‘unprecedented times’ and beyond.

An album of searching grace and innocence, this is the voice of ancient souls portrayed through the medium of a true indie heroine.

Version is destined to become one of the great party albums of the summer - just playing it once is guaranteed to cheer you up.

Framed by the presence of two vehemently liberated and reflective originators, its modernist physicality and spatially paralleled forms will continue to position Lewis and Milton as noteworthy musical institutions, and its insidious observations of contemporary traditions will forever alter those who come in direct contact with it.

As far as exploration goes, U2 seem to have finally found what they were looking for.

First Love is a promising, and at times deeply impressive, debut album.

It's a second album that builds on the success of the debut, expanding the sound without losing any of what made Jamie T so interesting in the first place.

Keeping the intensity and power of their previous work, but much more agile and versatile in its approach, The People In Your Neighbourhood feels comfortably like Led Bib’s best work to date.

It may not be leaps and bounds ahead of previous St Vincent releases, but this is a rich and multi-faceted album to pay close attention to.

Although this album is at times a difficult listen, you can’t help but admire Busdriver for his innovation and general wackiness.

Gallows may have been floundering during the last days of Frank Carter's time with the band but this very impressive comeback is the sound of a band reinvigorated.

Master is perhaps less dense than their previous offering, but still possesses the ability to invoke terror and occasionally, irritate. Despite these occasional forays, Master is a powerful album.

Like Dylan, Born To Sing will probably be an acquired taste for some (the jazzy backing may put some off, as may Morrison's tendency to incessantly repeat lines and start scatting every so often), but it's yet another example of his sometimes erratic genius.

No alarms, no surprises (unless you count a few surprising moves into bossa nova), but it does make for a lovely listen.

Mythomania is overdriven, with sparks flying from the bolts in its neck and fruit machine cherries lining up in its vacant eye sockets. But it sounds perfect somehow.

Refreshingly free of pretensions and convolutions it's full of well-written songs with melody and fun at its big heart.

While it's unlikely that Neptune will have quite the sort of chart success Adele's 21 has enjoyed, it's a fine example of Eliza Carthy's huge talent.

It’s done in quite a straightforward and simplistic way, which Mould has acknowledged himself. Nevertheless, it’s very effective and poignant.