Deeper Well is an album to wallow in, one for those rainy days inside where you just want to sit and find comfort in music. For anybody undergoing some large life changes, this is an album that will be able to gently guide you through those times.

Opening track Last Breath is worth the price of the record alone. It provides the album’s title, all the more poetic when encountered in the grief-stricken context of the song: “I didn’t understand how beauty holds the hands of sorrow / How today can outshine tomorrow.” The production here is wonderful, with crystal clear dynamics and a real contrast between intimate and sublime.

Whilst obviously not the best album of all-time, Different Creatures adds considerable weight to the band’s growing ambitions.

It's an impressive work from a genuine legend and as a response to our current situation, leaves us with a pertinent message: in Bruce we trust.

Certainly, though, Deradoorian has demonstrated here that she is a confident, mature and distinctive artist.

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

Kennedy's eclecticism becomes its charm. [Jun 2021, p.86]

The first great album of a new decade is one that promises to inspire a new generation of clubbers and hedonists with the joy of some of the most perfect pop you could ever hope to hear.

With Jóhannsson's surety of touch, Fordlândia becomes a wonderfully intense piece of work.

In their second album Confidence Man provide us with the feel good music we desperately need right now, taking the weight from our shoulders and offering more than a semblance of hope in difficult times.

It’s not some big reinvention, more like an expansion. And honestly? It’s better to have it than not. It could have done with a couple more rockers, though. And some guitar solos.

There’s a serious attention to detail here, and that’s kept up for the considerable length of the album.

At first listen, it’s musically not such a close cousin of First Two Pages, but more its identical twin – the same brooding atmosphere, that bottled up tension that seems to have become Matt Berninger’s vocal trademark – yet over a few plays, it seems to slowly take a life of its own.

This time around, they’ve toned down on the drama and, despite Sheff wanting to make this album quickly, seem to have taken the time to recount the past so they can tell their stories with appropriate reverence to being young.

Sun is an album that conveys the full spectrum of emotions, but at the same time it manages to never sound convoluted or patched together.

Escape From Evil feels like a case of one step forward, two steps back.

What Sremm 4 Life lacks in cohesion it makes up for in energy, the most exciting Sremmurd record since their debut.

It may not quite be the equal of records like Exile On Main Street or Let It Bleed (very few are, to be fair), but if Hackney Diamonds really is to be the final Rolling Stones album, it’s one incredible swansong.

All in all, an accomplished return, and a welcome and relatable one for these dismal times.

In Each And Every One sees Polar Bear sounding revitalised and ready to explore new musical combinations and possibilities with confidence.

There’s not an ounce of fat to be found. It might be a little lo-fi in places, but it doesn’t matter, this is the definition of an album that is all-killer-no-filler.

As it’s a debut, she’s still developing her sound, but all indications are that this is a start of a long and successful journey for Nia Archives.

Because you’re ready for The Things We Think We’re Missing. It’s yet another one of those albums you didn’t know how badly you needed.

This is a ‘supergroup’ refreshingly free of ego and filled with supremely listenable songs.

To Believe is a worthy return for The Cinematic Orchestra, developing their sound while keeping the trademark fusion between electronic and orchestral that Swinscoe and co. do so well.

With such impressive source material to play, they hardly need to embellish it.

It’s possibly an album that’s easier to admire than to enjoy, but you can’t fault his ambition.

It's an ethereal end to an album that is both exhausting and exhilarating. Sisterworld is, in musical terms, an interesting place to visit, but you'd definitely not choose to live there.