It's a rare thing to find an album that is a real, unexpected pleasure to listen to all the way through.

Weedkiller is the sound of an artist actually excelling in multiple fields with apparent ease. In a landscape where rap is diversifying and artists like Ice Spice and Sexyy Red are achieving notoriety, Ashnikko is a leftfield force to be reckoned with.

Not without fault, the album is a solid, cohesive work--and sign of The Cave Singers’ electrifying potential.

It's a joyful sound when she cuts loose, and wedded to an attitude you wouldn't mess with, works a treat.

The delights of Home Again is that Hayman sings about emotions that are easy to identify with but sometimes hard to articulate.

S Carey’s work may not have the same iconic impact of Bon Iver but through it he has created an album which rewards repeated visits.

Gunn’s perfectly snarling vocals amplified in intensity by the punchy production, it is a electric opener which sounds unmistakably PVRIS, just with a fresh energy.

It will be intriguing to see where he heads next on his musical tour, adapting as he does to different styles, though time and again the music of True Meanings feels like the most naturally sourced for him as an artist now. It is very much a case of a little less being a whole lot more.

This is a glacially beautiful album that you’ll do well to spend a lot of time with.

It’s a brilliantly consistent and, at eight tracks, concise offering that perfectly captures their sound.

With Struggler Genesis Owusu has followed through on his potential, and hopefully won’t be getting the boot from listeners anytime soon.

It adds another fine collection of songs to her already impressive catalogue, songs whose inwardly-focused subject matter renders the music more restrained than the punky pop of career highlight Cyrk.

While the songs aren't particularly complex and won't be to the taste of anyone after something challenging, the band impress with how easy they make straightforward songwriting look.

It’s not a pretty world to live in all the time, but for a while the twilight tones are the perfect place to rest a broken or bruised heart, or just take some comfort from Marissa Nadler’s exquisite craft.

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.

Lizzobangers is a triumphant album by an extraordinary artist and woman, whose girl-empowering lyricism and social consciousness puts her at the top of the underground and alternative hip-hop community.

Wilderness Of Mirrors provides satisfying proof that there is still plenty of value, purpose and life left at the margins.

They inch ever closer to the boundaries of the mainstream with this simmering assortment.

Love could only have been made by someone who knew this music inside out, who has nurtured, cherished and polished it since the day it was composed, who saw its potential in an era when pushing rock'n'roll past it boundaries was a new art form.

A gorgeously warm, fuzzy album by a man wise--and sad--beyond his tender years.

Not all the singing is charged in this light but the moments of unabashed, emotional melodies are akin to that of the endearing two-piece garage rockers, Japandroids - and in a world of indifference, it's a refreshing change.

The wilderness and going off the map might seem like a frightening concept, but after a little exploration, there’s beauty to be found everywhere.

Everybody’s Heart Is Broken Now resolutely clings to the idea that faded memories can be given vibrant colour through song and that music preserves inner tempests and dreamed oases in amber--and for the most part it succeeds as evidence of that.

The combination of strict process and softer emotion makes for a fascinating album. The Hill, The Light, The Ghost is clearly the result of years of tender loving care, and its ink appears to be only just drying thanks to the instinctive, organic approach.

It’s a thrill to listen to their experiments, their tinkering with sounds and ideas.

Third albums can be tricky, but for Fogarty, this is a challenge he grasps with both hands, coming up with an all-encompassing record that explores many musical possibilities.

They know their way around a captivating (if not subtle) hook, so whilst it sounds bigger than the sum of its parts, there are enough great songs to justify this super-stylised and fearless approach to pop.

This seventh album blows all those preconceptions out the water, leaving a record that is finally pure distilled Avril that will connect with long time fans and the Gen Z kids who recognise her iconic status.