You could make a fair case for it not even being as good as Funeral – but my oh my, it's close.

On songs such as this [Fairchild] and Chapter 16 Dave sounds focused, engaging: ingredients of a great album are here, but he’s yet to stick the landing.

By this point, she’s probably preaching to the converted, and won’t attract anyone previously immune to the Del Rey charm – yet this is probably her finest record since Born To Die, and this new partnership with Antonoff ensures that her next move will much anticipated.

An album that feels alive and joyous in its creation and performance.

Overall, Touché Amoré’s shift to the emotional and the subtle at times, without sacrificing the exhilarating annihilation that characterizes their music, renders Is Survived By dynamic and of higher quality than anything they’ve done before.

It is a remarkably enduring and giving album that further enriches this already flourishing genre.

Tenderly questioning at every turn and predominantly joyous in its approach, these subtly provocative tracks are a defiant call to arms in an ever more uncertain age, underlining Bottum’s impeccable songwriting chops following his tenure in the disparate groups Faith No More and Imperial Teen and gleefully showcases Holman’s innate charm.

With this record Young Fathers have managed a perfect synthesis between what they are saying and how they choose to present that sonically. Yes, this is a highly political and experimental record, but it is also a brilliant pop album.

One of the 21st century's most intelligent and satisfying bands (musically, lyrically, emotionally) have once again set out their stall, and once again produced a work of inspired resonance, capturing truth after truth, in all its muddled, human realism.

Bob Ludwig's remastering punches up the drums and adds clarity and volume to the mix without overblowing it or excessively altering the overall sound, and the result is that these two albums sound incredibly modern, relevant, and invigourated... The Gish standouts include a demo of Daydream with Corgan on vocals in place of D'arcy Wretzky and an extended version of Drown with blistering alternate guitar solos.

This record has been a long time coming, as Fabiana first appeared as one to watch in 2017, but with her development as a singer, songwriter and producer it’s surely been worth the wait.

What is perhaps most impressive about Beautiful Africa is its sheer number of thrilling twists and turns.

It doesn’t always maintain the consistency that makes a truly great album, but it makes you feel good and puts a smile on your face. Just as the cover promised.

Shore is a glorious, life-affirming collection of songs, a move to the centreground that shows his absorbing of musical influences is paying rich dividends. It has ‘future classic’ written all over it.

Here she is doing what she does best--weaving the sounds and statements of the people she's writing about into the song itself.

Hit Parade provides ample demonstration of her inherent and infectious sense of fun and her propensity for eccentric bops, qualities which have served her well across the decades.

Venus In The Zinnia is an engaging duet with Welsh musician and kindred spirit H. Hawkline. A lot of the other songs may be less immediate but still have their strengths.

What is provided here [is] superb playing and a peerless collective spirit, along with a clear and nuanced production that is never intrusive.

Like the original album, most of these songs deal with the themes of love, loss, sex and power in open, frank ways that can make for – at first – a difficult, unwieldy listen. But presented here, in a more intimate setting, the songs are more accessible, and certainly more apt for repeated listens.

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.

As with every track on this perfectly crafted piece of work from one of the world’s most distinctive voices, it is really quite beautiful.

An album that is nothing short of a triumph, one that perfectly balances their craving to be “unsettling” again with soaring, arena-ready anthems.

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.

There’s enough variety and sheer pop power here to merit the hype, and more.

In swapping fiddles, banjo and slide guitar for synths, piano and dynamic guitars, Life On Earth invokes a true sense of step change, capturing Segarra moving into the spotlight with purpose and confirming herself to be an artist ready to embrace newfound opportunities.

When it hits, as on the wistful Fionn Regan sample on the closing 00000 Million or the breathtaking piano introduction to 33 “GOD” you know that this strange, beautiful, willfully obtuse album is one that you’ll want to live with for a very long time.

A few good ideas emerge, but are then repeated endlessly to the point of sheer boredom.

Let England Shake, Harvey's first solo album since 2007's White Chalk, is a brutal, often difficult and always unflinching look at what terrible things happen to people when nations fight each other.