‘Heartbreak Weather’ pads its way through every different phase of relationship-based grief, inevitably letting some moments of catharsis feel more impactful than others. It isn’t an entirely lost cause, but one to build upon for a more inspiring future all the same.

Again, he has made another record that will stay close to the hearts of a generation of rap fans. He is surely our generation’s Lil Wayne.

Porridge Radio nail some of music’s hardest tricks – breathing fresh life into indie and making a record that can loosely be compared to other bands in fragments, but also feels entirely their own. ‘Every Bad’ is a breathtaking step up from their bedroom-recorded 2016 debut, ‘Rice, Pasta And Other Fillers.’

There are moments of brilliance on both records. ... Thematically, ‘Everything Sucks’ and ‘Everything is Beautiful’ fail to deliver anything new.

There are moments of brilliance on both records. ... Thematically, ‘Everything Sucks’ and ‘Everything is Beautiful’ fail to deliver anything new.

In some ways ‘Traditional Tools’ is a welcome return to form, but the album isn’t nearly as innovative or as introspective as it makes itself out to be.

The high-tempo, energetic sounds throughout match Ahmed’s razor-sharp lyrics and fast-paced rhymes. The use of South Asian instrumentation – especially the Qawwali harmonies – grounds the production. It takes an unconventional approach, but the ‘The Long Goodbye’ manages to distill complex topics with fervour.

Spans a whopping 21 tracks – a length even the world’s greatest artists would struggle to fill without sneaking some sub-par songs in. Which means that lo-fi ballad ‘Julia’ is a little cloying, while the acoustic finger-picking of ‘For Now’ and jazzy guitar strums of ‘Sweatpants’ don’t quite live up to the high standard set elsewhere on the record.

Cornershop’s cult is one you’ve either already signed over your seventh-born to or will watch pass you by with a fascinated bemusement.

Despite being a record of two halves, ‘My Turn’ is an enjoyable collection of tracks for his loyal fans. He would do well, though, to stay away from the whiny sounds and rap with a little bit more clarity.

Had the stronger songs been contained to an EP it could well have rivalled the extraordinary consistency and thrill of its predecessor – but frustratingly, it falls short.

Conceptually, ‘La Vita Nuova’ is an astonishing feat – but even better than that, it also oozes an intensity of feeling that punches right in the gut.

Bentham may have struggled writing this album, but the results exude confidence and ambition. Whilst it draws heavily on the slacker sounds of the 1990’s, Bentham brings the genre firmly into 2020 with her fresh take on what it’s like to create in a time where inspiration can be hard to find.

The more experimental and unsettling elements will reward longtime stans, while recent converts will be just as thrilled with its party-starting exuberance. What’s universally clear, however, is that 20 years into his career, Snaith has found the perfect balance between intimate songwriting and extroverted sonic decisions.

As explorations of pain go, ‘Color Theory’ is as beautiful as it is brave.

‘The Main Thing’ experiments well without alienating die hard fans expecting more of the same. It’s a more mature and ambitious record; the sound of a band finally out of a rut.

Royce’s 2018 album ‘Book of Ryan’ was always going to be a tough act to follow, but ‘The Allegory’ stands up as an accomplished body of work, packed full of poetic intricacies and life lessons, soundtracked by the sound of Detroit; it will likely end up on the majority of 2020 end-of-year rap lists.

An album full of big ideas, strong conviction and unguarded emotion, it’s more than worth the wait.

For someone who helped to invent modern metal, he’s held a stunning number of surprises up his cloak sleeve (see: a wildly successful solo career and genre-defining reality TV show). This rollicking album is yet another.

‘Meet The Woo 2’ does feature some slightly lacklustre – take the disappointing ‘Foreigner’, featuring fellow New York rapper A Boogie Wit Da Hoodie. A Boogie’s sloppy delivery might have been scraped entirely from the mixtape. Yet Pop Smoke’s latest is one for the mosh-pitting party goers. He definitely proves that – in his own words – “you can’t say pop and forget the smoke”.

It’s a record stuffed with imagination and packed with beauty. It’s also a fitting next step for an artist who’s built her reputation as someone who refuses to keep in step with the rest of the world.

King Krule fans will find their hero to be far more accessible on ‘Man Alive!’. The Krulean gloom is beginning to lift and, with this newfound paternal responsibility and a more optimistic worldview in place, Marshall’s creativity is shining for all the world to see.

‘Always Tomorrow’ boasts a handful of punchy, promising songs but it’s frustratingly unambitious in scope. When the album treads old ground, the ideas are stale. Hopefully a bigger rejuvenation is on the horizon.

Whilst jazz and dance are at the forefront of this album’s heart, you can trace a multitude of other genres under its surface, from grime to rock and funk to pop. It’s an ambitious work full of scope, where Boyd continues to innovate and impress.

‘Changes’ is a knackering listen. Overly reliant on trendy production and profound(ish) romantic proclamations, it’s a disappointing comeback from an artist who has a track record in creating hits.

‘Laughing Gas’ is a lush paean to ‘80s precision pop, all snaking funk basslines, synth claps and reverb-addled drums.

For the most part, the album is sickly sweet and filled with cliché lyrics. ‘Treat Myself’ is a frustrating listen, especially given Trainor’s track record for writing ear-worm pop songs.

‘Born 2 Rap’ isn’t just a library of classic records blended together: it’s a lesson in storytelling, something The Game has never received enough credit for. ... There’s a flawless project somewhere among the album’s 25 tracks, which could certainly do with trimming.

This is a 57-minute flex of every musical muscle in Parker’s body. Crunchy guitars are largely absent, but we’re left with something far more intriguing – a pop record bearing masterful electronic strokes.

These songs feel like the bratty little brothers of the likes of ‘Castaway’ and ‘Blood, Sex And Booze’ from 2000’s ‘Warning’, but with more of a snarl and a need for speed.

The result is a markedly retro-futurist sound, from the OMD-ish ‘Kinda Dark’ to ‘It Just Doesn’t Happen’, the synth line on which sounds suspiciously similar to a new wave rendition of Salt-N-Pepa’s ‘Push It’. At times, the music veers so close to kitsch that it may very well alienate some listeners from the get-go. Bejar’s songwriting remains as deft, cryptic and mosaic as ever though.

Like any conversation we have with ourselves, ‘Mystic Familiar’ is not simple or predictable, but does prove the power of switching off all distractions and taking the time to dig deep into what’s inside. There’s a whole other universe you might be missing.

The music develops, gradually growing in its elegance, until further down the path Yorkston takes over, singing the baleful words of the great Scottish poet Robert Burns. The song finds a path across the globe from one visionary figure to another, the peak of a record that is somewhat visionary itself.

This is some of the most focused, ferocious rapping that Lil Wayne has achieved in ages. Yet this still doesn’t necessarily result in a great album.

We know what we’re getting from here: effervescent pop-punk smashes with a political edge. The lyrics are more personal here than on previous Sløtface albums, as Shea dissects her experiences growing up in Norway with American parents.

The rootsier material is often fantastic, which shows up the goofier stuff even more. Kesha has balanced tender country songs with blinging pop throughout her career, but you may wish for ‘High Road’ to stick to one lane.

Musically ‘Walls’ is a largely conservative album; it’s primarily guitar-led and rarely experiments. ... The album is padded out with a string of forgettable – though not unenjoyable – acoustic whimsies. ... There are the foundations here for a rewarding future.

For the converts there’s enough familiarity and boundary pushing to justify continuing to invest in this band, right as they begin playing their first headline arena shows on their upcoming spring tour. But for the doubters and sceptics still on the fence, this album might prove even more enjoyable and surprising. Only a fool would deny themselves this collection of big pop bangers.

Recounting the happier memories of her relationship often results in the album’s lightest moments: it’s here where synths soar and possibilities seem endless. Elsewhere, Scott employs some of her most evocative lyrics yet.

The effort in attempting to redefine their sound and head back to the ’80s is clear, but it’s sorely undermined by a lack of originality and ideas.

While the intimacy of the songs makes this a challenging listen, there is a humbling bravery here.

Musically, ‘When We Stay Alive’ mirrors the feeling of physical rehabilitation, the sense of claustrophobia unavoidable on the knotty ‘Fold Up’. The second half of the album, though, strips away the fog and the anger, finding blissful moments of clarity and closure that feel like real eureka moments.

The growth and progression here is stunning.

There’s no jolting shock-of-the-new: there’s just reassuringly here, refining what they they do best.

Despite the sense of chaos, there’s a level of sophistication and poise on show throughout. This record showcases Black Lips in a songwriting prime.

He splits the difference on ‘Music To Be Murdered By’, indulging his immature ego (griping at bad reviews, stirring controversy for the sake of it) even as he offers salient social criticism and admits his missteps. He’s ready to pass on hard-earned wisdom before running his mouth like he hasn’t learned his own lessons. And he offers casual fans a hook or two before embarking on another lyrical work-out.

Throughout this record, 070 Shake paints vivid – and often uncomfortable, or jarring – pictures, and it’s all on her own terms.

The musician’s previous concepts have both been compelling in themselves but, by stripping back the stories to their very personal core, Halsey has made a record that is as thrilling as it is vulnerable, and her best effort yet. This is Ashley’s world; it’s really nice to meet her.

It’s a high-quality project, but we lost Mac way too soon, and that’s hard to accept. So while it’s hard to listen to him talking about self-deterioration and how he spends far too much time in his own head, it’s a privilege to hear him share his inner most thoughts over a bed of sweeping, inventive sonics. This is the album Mac Miller was born to make.

R.Y.C is at its most provocative and memorable when its larger-than-life characters and productions become unhinged and combustible with lust for life. Yet Mura Masa’s anxious contemplation of modern-living – the highs, the lows, the lies we tell ourselves to make it all better – hits just as hard.

Despite a handful of lacklustre moments on the album, ‘Everything Else Has Gone Wrong’ permeates the band’s trademark sound with fresh ideas.

More. Again. Forever strikes a mature balance. It’s escapist in its sound but humane in its approach to the world. It’s experimental but familiar, and tests what the band are capable of while proving to be their more focussed work to date.

It doesn’t sound like the work of a band who might inspire legions of fans (among them, apparently, Kristen Stewart) to get tattooed with their logo, but these world-weary yet radio-friendly ballads imply the band might achieve longevity after all. Three chords and the truth never gets old, and ‘Marigold’ vividly paints the knottiness of adulthood.

After the huge success of his second critically-acclaimed album like ‘Pieces Of A Man’, this small EP steps into the big boots it needs to fill before Mick Jenkins’ next outing. ... Delightfully dainty.

The most interesting moments on ‘Deleter’ arrive when the band embrace ’90s dance in all its euphoric, Technicolor glory. There is still plenty here for fans of the band’s more melancholic, anxiety-ridden electronica, but there’s some much-needed escapism to be derived from getting lost in Holy Fuck’s tripper soundscapes.

The band continue to be radical, but rather than being reactionary, ‘There is No Year’ is precise, thoughtful and powerful.

The collection ebbs and flows steadily, and it’s undeniably sleek in its vintage Americana-style production. Some songs leave the listener gagging for more, as Savior flexes masterful lyrics, effortless style and poise. This is a timeless collection.

They’ve certainly made interesting, bolder leaps than before with this second record. We’re ready to jump in again.

Blips aside, ‘Rare’ is a beautifully confident return from one of pop’s most underrated stars, and a quietly defiant wrestling back of the narrative surrounding her.

I Disagree is her most accomplished record, full of daring theatre and snarling forward motion. While all our favourite rock bands are going pop, Poppy is unapologetically embracing her desire to go heavy. It might be inspired by the bands she grew up listening to, but there’s not a moment on ‘I Disagree’ that feels like a throwback.

Unfortunately, as a musical portrayal of the long-lasting echoes of WWI, its ideas are far more interesting than their execution.

It’s not quite picture perfect, but ‘Seeking Thrills’ is Georgia’s jubilant and insightful document of the life that moves under the disco lights.

‘Jesus Is Born’ serves as a gateway into gospel and a fittingly festive listen for this time of year. Praise be.

It’s full of clever collaborations and interesting vocal performances; Roddy Ricch has placed himself comfortably in his own lane.

Stormzy came out swinging for his second album – it’s big, it’s broad and it is mostly brilliant.

Bad Vibes Forever is better than Skins, the first XXXTentacion album released after the rapper’s death, but all of his posthumous music to date has fallen short. Even if you do hate XXXTentacion, you cannot deny his influence on modern rap. But ‘Bad Vibes Forever’ is a serious case of over-embellishing thin material.

Bubba may be lacking the type of big bangers that thrive in festival sets like ‘99.9%’, but is no worse for it. Instead it’s a dizzying hour that is more interested in enthralling the already-fans that have made it into the club and to give them a helluva night. Job done.

The Free Nationals’ supreme musicianship is unquestionable, but they more often than not seem to require an outside presence leading from the front to really bring it all home.

For the most part, though, Styles’ second album is a total joy. It’s an elegant combination of the ex-boybander’s influences, slick modern pop and his own roguish charm.

On the whole, this is a mixed bag. ‘LP1’ shows a more grown-up side to the former One Direction member, and cherry-picks from pretty much every genre that’s in vogue right now. The problem is that it doesn’t tell us much about Liam Payne.

The record shines during these more upbeat, fun moments. ... The album is less successful when Cabello tries to show the side of romance where you’re falling head over heels, or doubting a relationship.

This mixtape is a step away from his usual sunny LA sound, but 03 Greedo knew what he was doing when he enlisted the help of Kenny Beats. This link up has resulted in an entertaining, yet simple record, the concept expertly executed.

Tinashe flips so aggressively between genres that the record becomes unfocused and sporadic. Of course there’s nothing wrong with Tinashe showing emotional duality, but in transitioning so sharply from R&B to rap to stadium pop to EDM, ‘Songs For You’ makes you feel a little dizzy.

The record is most effective at its most gentle and sparse, his voice given room to breathe. Where the lyrics becomes too grandiose, words clash with the folky style, leading to abrupt jarrs in pace and direction. Yet, as with most of Corgan’s solo projects to date, there are still plenty of moments of beauty here.

After You shows an artist rejuvenated and fired up, and hopefully back on track to stick to a more timely release schedule in the next decade.

Selecting a few old R&B bangers, he’s created some tracks that will be on playlists for years to come. Tory Lanez has modernised cult hits that are, in some cases, nearly two decades old. And despite the use of these classics, the album still feels like his own.

We’ve heard these songs so often it would have taken a Christmas miracle for even a pop legend of Robbie’s stature to make them new. Still, his longtime collaborator and co-producer Guy Chambers has brought a great deal of warmth to this collection.

‘Shlon’ allows Souleyman to lift the curtain into his culture, showing his artistry and why exactly he’s one of the most sought-after producers in the world. To pigeonhole him as a wedding singer is reductive.

There are only two major mis-steps – ‘Beads On One String’ is the kind of amorphous soft rock balladry that Sting used to make in the ‘90s and Townshend’s easy listening ‘I’ll be Back’ descends into a plain awful vocodered rant. ... But otherwise ‘WHO’ either recaptures the band’s root ferocity or explores new territory with style.

While these might not be Nilsson finest ever songs, it’s nothing less than a joy to hear him singing again.

For the most part, though, Diamond’s debut album sparkles. Harnessing heartbreak and combining it with wickedly odd production, ‘Reflections’ is a shimmering collection of unconventional pop songs. After all that speculation, Hannah Diamond is human after all.

There are a few early misfires here, but they are rescued by a stunning second half on which Beck’s trademark sound is stripped back and drenched in a glistening synth-filled air that takes him into a daring new era.

Everyday Life regularly steps to the left-field, proving that Coldplay are more adventurous than they’re often given credit for.

I Made A Place is a soft, sumptuous delight. It’s a cult classic, not a bestseller, but we’re pretty sure that Bonnie ‘Prince’ Billy wouldn’t have it any other way.

Thankfully this album doesn’t fall into the trap of posthumous records that feel like they’re shamelessly re-animating a corpse and therefore should have been left on the cutting room floor. Instead, this collection of tender songs finds Cohen at his most calm and reflective.

Krystal manages to be many things at once. It is often devastating, yet also darkly humorous – even in the most depressing circumstances, Maltese is able to recognise the comedy of it all. A step forward and a look back to where he came from, this is one of Britain’s most magical songwriters at his enchanting best.

Dlamini’s taking no chances here and, now that the smoke’s lifted, it’s clear she’s a pop contender with the nous and drive to go as far as she wants.

Although the decision to release what sound like half-finished tracks purposefully left in the draft folder somewhat misguided, the album doesn’t do anything to tarnish his legacy. Instead, there are moments where it shows how capable of an artist Åhr was, a gentle reminder of the stardom Lil Peep could have achieved.

It’s a no-holds-barred trip into Taylor Hawkins’ personal favourites, and a loving homage to some of classic rock’s greatest voices.

Though not quite closure, ‘Lost Wisdom Pt. 2’ is the sound of Mount Eerie reaching clarity.

It’s the social commentary that makes this experimental album feel vital and unifying. Okereke lyrically eviscerates the politicians who’ve caused divisions based on race, wealth, sexuality and gender, but also offers a vision of hope and a desire for England to rebuild.

By its close, FKA twigs is an unstoppable force of nature.

Ne-Yo‘s overly polished vocals not sit well and Preemo’s production sounds uncharacteristically remedial. Sometimes, too, Guru’s absence is a little too noticeable. ... But these hiccups aren’t enough to derail the album’s quest to remind fans why the duo’s name is mentioned amongst the hip-hop greats.

These two rap entrepreneurs have proven that it was worth the wait for another studio album. The years between ‘Revenge Is Sweet’ and their debut ‘Long Way Home’ have been fruitful for the duo, but – for all their dabbling – this is a welcome return to their roots.

The brevity and density of the album, coupled with the unique production, makes it seem like an epilogue to ‘Some Rap Songs’. Earl Sweatshirt has made another project that listeners will scrutinise and dissect repeatedly. It’s further proof that Earl Sweatshirt is a generational talent.

Myths 004 certainly hits the mark for “embracing the chaos” as a “crude holiday scrapbook”, as they promised in a release accompanying the EP. But is it actually an enjoyable listen? Not really.

As with each of his albums to date, Kiwanuka navigates the past and the present, skilfully making sounds and subjects appear both classic and contemporary at once.

Woptober II is much more intimate. ... A lot has changed since it was last open season on Gucci Mane. The optimism and positivity on this album is infectious, even when he’s reminded of the darker times.