What’s My Name dares you to continue listening, to see if you can make it through its first song without spontaneously combusting from second-hand embarrassment, a spectral groan of “Grandaaad” escaping from your ashes as they sizzle and singe. ... But perhaps opening with such a heinous song is actually a genius move. In isolation, they might not fare so well but, after that, nothing else sounds as bad.

Maybe this album is a little rough around the edges, and doesn’t quite commit enough to experimentation, but overall it’s an assured debut that suggests a very bright future. If King Princess leans more heavily into gay ballroom culture with the next album, ditching the acoustic guitar for music that’s more urgent and funky, then we might just have another pop great on our hands.

Second album ‘Cry’ sees the band not stray too far from proven formula of slow and sexy sadness, but this time with a little more love thrown in and all held together by a more filmic approach.

Overall, there’s enough rock star swagger here to live vicariously through, and the sense that the Joshua Tree party will ride again for years to come. So crack open that fancy bottle and let your hair down.

Sure, it’s not as relentless as 2015’s ‘The Monsanto Years’ – his concept album about the evils of the monolithic, genetically modifying agriculture business – but his commitment to a better way of doing things seeps through each of the 10 songs here.

Summer Walker paints in subtler shades. This is an album of relatable, mixed emotions, the narrator promiscuous one minute and faithful the next. This is record of complex emotions, treated with a lightness of touch that ensures it’s fun as fuck. We’re far from ‘Over It’.

Not only a fittingly accomplished conclusion to their most adventurous and masterful project to date, ‘Part 2’ is also a thoroughbred belter of a record and utterly complete album in its own right. Add it all up and the ‘Everything Not Lost’ era is testament to all that Foals are capable of – in sound, in scope and in greatness.

War Music is the best album Refused have ever made. It has more in common with the violent swing of a sledgehammer than any punk record we’ve heard this year.

She’s combined the joy of Chairlift, the atmospheric mastery of Ramona Lisa and the experimentalism of CEP. The result is a Caroline Polachek record in its most distilled and fully realised form.

Though there is plenty of positive change across ‘Surviving’, it’s clear that their strengths still lie as a fists-in-the-air rock band; the monumental ‘One Mil’ shows this best.f hope and rebirth in their own way, digging as deep as Adkins himself is.

Though the guests form a great deal of the fabric of the album, they do so on Battles’ terms, firmly entering their universe. No guest – not even Shabazz Palaces’ flowing verses on ‘Izm’ – steals the show. ... An album – that indulges the weird and wonderful side of Battles while also, simply, giving the people what they want.

From the brief flamenco break in the pummelling ‘Night Night Burn’ and the doomy guttural rumblings of ‘In The Name Of’ to the horns-up thrash anthemics of ‘Distortion’, ‘Metal Galaxy’ is a wild ride that, through its sheer energy, is somehow infectiously accessible.

Uneasy and scratchy, and powered by hefty beats from producer Justin Raisen, ‘No Home Record’ is a restless listen.

A wide-eyed, serotonin rush of an album that will make you eternally grateful for Swim Deep’s perseverance.

Ghosteen is one of the most devastatingly accurate accounts of grief that you’ll ever listen to. Yet it’s also, astoundingly, one of the most comforting. Few mediations on grief manage to navigate despair and catharsis as well as this.

Ode to Joy is the culmination of a musical evolution Wilco have been working towards for years. Ode to Joy holds a microscope to the small moments of life – which, thanks to the current political landscape, we’re often in danger of missing – and encourages us to see and cherish them.

This peek into FEET’s trippy world is a often confounding, but on the whole this album is a giddy ride from a British band not afraid to push the boundaries of their own sanity – and, quite possibly, your own.

It’s tempting to say that ‘Deceiver’ truly excels at its heaviest, given that these moments – the pitiless, piledriving chorus of ‘For The Guilty’; the heaving last gasp of feedback that roars through ‘Acheron’ – are the record’s most memorable. But it’s actually the more fragile moments on ‘Deceiver’ that ultimately prove to be the most emotionally resonant.

Where his previous projects felt sprawling, ’uknowhatimsayin¿’ succeeds in feeling compact while delivering a powerful project that is expertly produced and concisely executed.

Ultimately this record – her best yet – is about finding a different kind of love: the quiet self-examination after the dust of a break-up finally settles.

DaBaby has emotionally matured over the last six months, a fact that is reflected in his lyrics. Even if he has the superfluous style of the old DaBaby, there’s greater depth here than there was before.

Fittingly, the emotional alchemy that Opeth muster on album number 13 is a sonic brew that could sedate a herd of buffalo.

This serves as an honest, vulnerable, and occasionally brutal reminder of what Tegan and Sara have always been best at.

Turn To Clear View showcases both the cross-pollination and multiculturalism of London, while distinguishing Armon-Jones as an artist whose tastes are as varied as they are exceptional.

Weirder, funnier and fiercer than ever, Girl Band return as heroes of the weirder corner of rock music, and they’ve outdone themselves this time.

Tove Lo’s fourth album sees the star largely stick the formula that made her successful in the first place, but that’s no bad thing: it features some of her best work in years as she boldly embraces new sounds and unusual collaborators. Exhilarating and fearless, Tove Lo has ensured she’s stayed relevant with a bold, brash and at often quite brilliant record.

Musically, the album hits in all the right spots, solidifying their expertise at penning sunny, earnest Radio 2-core. And when they deviate from the easier path, most notably on the slow, deeply sombre ‘Strange Room’, which sees Chaplin’s voice take on a genuinely affecting, downtrodden lower tone, ‘Cause and Effect’ begins to exist as more than a comeback album for the sake of a comeback album.

A spiritual follow up to 2003’s ‘Untitled’, ‘Nine’ sees the trio as confident adventurers. Dealing with the ideas of despair, loneliness and longing, the record doesn’t shy away from the shadows but you’re never far from a dash of hope.

Johnny Venus and Doctur Dot prove to everyone that rap groups are on the rise. In a genre overpopulated with solo artists, it’s refreshing to see a duo emerge from the ashes. If you give the sick lyricism and jazz overtones a few more years, they could be the next Outkast.

Song to song, it’s genuinely exciting to see where JPEGMAFIA might go next, and you never quite know what to expect. JPEGMAFIA’s third album is his most accomplished record yet.

Melodically there’s consistent bombast – the record opens with ‘Stepdad’s wonky sound, sounding like an orchestra disco epic played on a Fisher Price keyboard. ‘Miami Memory’ becomes a slipperier prospect when Cameron’s usual ironic schtick reappears.

This urgent and important record will ensure the veterans don’t get lost in the shuffle.

Bold, brash and brilliant, this is Charli XCX at her most genuine, and it’s dazzling.

Metronomy Forever is, in many ways, remarkable: the band have proved their longevity and ability to reinvent, retool and still maintain their love and ability to pen stellar pop songs. We’re already looking forward the sequel.

Beneath The Eyrie is still arguably their most consistent body of work since their 2004 reformation and certainly their most inventive in 28 years. What a spooky surprise – that this incarnation of Pixies would turn out to be such a dark, dark horse.

His songs are rarely constructed from a place of deeply considered meaning. Instead, they’re largely streams of his conscience: creations that invite listeners to cosy up in his world. On ‘House of Sugar’, it’s his most exciting invitation yet.

Hypersonic Missiles mostly hits the notes he longs to convey: it’s by turns euphoric and melancholy, self-deprecating and righteous, untethered and claustrophobic. There are no easy answers here, but Sam Fender’s asking the right questions.

This album lacks the novelty factor – Liam finally going solo – that made ‘As You Were’ so welcome. But it’s more diverse (everything’s relative) and textured.

As Post tries new sounds on for size, some git better than others. Sometime it feels as though he’s still trying to figure this out as he goes. But it’s when he keeps things simple and goes beyond the clichés that he feels most like himself. ... Hollywood’s Bleeding is a playlist made for these times. It’s going to be huge.

Never compromising herself or her sound, Mahalia has produced a debut album filled with dazzling songs.

It’s the sound of a former trendsetter, settled happily into adulthood, doing his own thing, following his muse, comfortable in his skin. It’s a pleasure to hear.

Often ‘Saves the World’ is brutal in its specificity – with devastating effects.

‘Free’ is a liberating collection that unshackles the star from his past and his insecurities, and slowly cracks open a door to version of the future that will inevitably arrive when he’s ready. Wherever that journey takes him in this phase of his career, it’ll be an honour to witness.

Here, on her most consistent work to date, she’s still dramatic, seductive and theatrical, but fully cut loose. This is Khan’s own heroic moment.

It’s the ‘meh’ shruggable moments of filler around them that dog the consistency of ‘Wallop’. There’s not the high-octane fuel or direction to take the record to the heights that it so constantly teases.

It’s a slow-burnin’ collection that’s certainly less immediate than their debut, and often feels like a retread instead of a progression. But that doesn’t make songs like ‘Friend of Mine’ and ‘Song For Ty’ any less enjoyable, as Elrich’s and Kazacek’s songwriting bond appears stronger than ever.

It’s not as if Kano’s position as one of the Top Boys of an energised UK grime and rap scene needed any further cementing, though ‘Hoodies All Summer’ has done exactly that.

Lana Del Rey is large – she contains multitudes, and the way she balances and embodies them on her fifth album is nothing short of stunning.

This album is the stylish and streetwise mash-up of genres that you’d hear on an UNKLE or Gorillaz record. It never really blasts off, but this time it’s more about the journey than how fast you get there.

It’s no reinvention, but there are subtle tweaks here and there for a polished record that cements their place as a kick-ass rock’n’roll band with longevity.

This fuzzy, muddy record splits the difference between the bubblegum pop-punk of Furman’s earlier albums, such as 2015’s ‘Perpetual Motion People’, and the more unknowable ‘Transangelic Exodus’.

All in all, ‘ICONOLOGY’ is Missy putting a gun in the face of her haters and daring them to say something. She wants them to doubt her just so she can pop off with some zany game-changing vision that’ll set the world on fire. But she’s not ready to unload a full clip just yet. Rest assured, though – it’s coming.

There are plenty of hooks here, but nothing to make a festival tent bounce like ‘Boogie’ or ‘Gold’ can. It’s a small criticism, though, on an album that resets Brockhampton’s compass and sees them straying away from the danger of implosion that ‘Iridescence’ seemed to suggest.

At 18 tracks long, ‘Lover’ is more sprawling and further from flawless than her 2014 pop crossover ‘1989’. But it succeeds in spite of its clunkier moments because Swift’s melodies are frequently dazzling and her loved-up lyrics are ultimately quite touching.

As with releases previous, there are wrinkles that will only emerge after the record is lived with and absorbed. But if you’re wondering whether ‘Fear Inoculum’ was worth the wait, then the answer is yes. If you’re wondering whether it’ll touch your heart, soul and spirt, the answer is also so.

This experimental concoction Redd delivered is a hit-or-miss.

Things do pick up with messy, closing tracks ‘Self-Immolate’ and ‘Hell’, but these are proficient rather than remarkable moments. Ultimately, it’s not enough to prevent ‘Infest The Rats’ Nest’ from feeling like a case of “look what we can do!” rather than a record fully realised.

By removing the safety net of her debut and baring herself both musically and lyrically on album two, Jay Som has not only become a better songwriter, but now feels like an important one too. The messages on ‘Anak Ko’ are worth lending a close ear to.

So Much Fun is a free-spirited record that comes with heavy doses of ridiculousness, but it’s lovably silly, and is a welcome dose of light relief.

It does little to either push Turner forward or tell these stories satisfactorily.

Friendly Fires remain knowingly cheesy and in-your-face and their Technicolor live shows will continue to thrill regardless. The worst part of ‘Inflorescent’ is that you won’t hate it; you’ll just forget you’ve even listened to it.

A record that beautifully articulates the giddiness of love, ‘Forevher’ subtly queers up the love song in its most timeless form.

As ever, The Hold Steady achieve their best work when their playing is loose. When the songs are filtered through the bottom of a shot glass. When they sound like the best bar band in the best bar you didn’t know about until the moment that you found yourself in it at 3am in the morning. On the basis of ‘Thrashing Thru The Passion’, that band are back.

Propelled by sharp, angular sounds, ‘The Center Won’t Hold’ craves connection above everything else in a world that can often seem desperately lonely. Each dirty and distorted throb (unlocked to full potential by Annie Clark’s gift for making guitars sound positively devilish) seems to yearn for another body to hold onto.

The past eight years have seen Blanck Mass creep forwards to slowly become one of the UK’s most exciting experimental producers. Animated Violence Mild is the pay-off, a fantastic, delirious soundtrack to our demise.

There’s plenty of furious bluster on the record – vocalist James McGovern sounds incensed on ‘More Is Less’, and ‘Feeling Fades’ remains a razor-sharp torrent of feeling – but maybe its most interesting moments come in the slow-burns.

While the beginning of the album struggles, you’ll be hard pushed to find a five-song stretch as flawless as the close out tracks on Ross’ 10th studio album.

The Oxford band’s second album since their 2014 reformation benefits from a wealth of creativity and experimentation that Bell may well have been suppressing for over 20 years.

At times, its a record that feels slightly lacking in range as a consequence; as this album chugs on, Night’s wittiest turns of phrase can’t help but take centre stage against a familiar backdrop.When The Regrettes shake things up, they’re most ferocious.

Over 12 years the music Justin Vernon has created as Bon Iver has constantly changed, but that doesn’t mean the old sounds have been undone; they’ve been repurposed and reused, evolving into something different – but always as compelling as the Bon Iver of yesteryear.

We Are Not Your Kind is an astonishing record, a roaring, horrifying delve into the guts of the band’s revulsion, a primal scream of endlessly inventive extreme metal and searing misanthropy.

Mabel’s gorgeous silky vocals soar, the glossy production is stellar, but the exuberance and effervescent attitude that make tunes like ‘Don’t Call Me Up’ so brilliant aren’t found throughout.

Cottrill is a master at penning lyrics that make you feel like you’re listening to hushed secrets from a friend, but she also has a knack for crafting melodies and rhythms that make you really feel what she’s going through in any given song.

While the sumptuous grooves that underpin the tracks are captivating, it’s also the thematic content of Bismillah that makes for repeated listens.

He empowers all to be ‘African Giants’ on an all-over entertaining album, demonstrating that he’s one for his people.

Stuffed with superfluous features, the Chicago rapper's 22-track debut studio album sags somewhat, but is almost saved by his infectiously optimistic outlook.

The trio reflect the growing bleakness of the world around them by sounding more fiery and furious than ever before.

Fever Dream is perfectly listenable, but missing the magic spark that made them smash successes when they first emerged.

Duck is far from inventive, but there’s fun to be had.

The 13-track album is an absolute riot, falling somewhere between the meticulous dreamy psych-pop production of Tame Impala’s 2015 breakthrough album ‘Currents’ and the loved-up summertime vibes of Tyler, The Creator’s 2017 record ‘Flower Boy’.

If you’re a fan of this stuff – powerful, bruising, operatic, performed with absolutely no sense of irony whatsoever – then there’s no question that Sabaton are amongst the best of the best. ... This is the album that could take Sabaton upwards.

For the most part, this album, with its Avatar references (‘Lost Freestyle’) and hilariously bad Kim Jong Un punchlines (from ‘Tanasia’: “Chillin, we’re starting to think about children / And bringing them in the world with Kim Jong Illin'”), just sounds dated and like something Nas didn’t need to release.

Lion King: The Gift is a great example of Beyonce’s fantastic taste, and of her ability to oversee an album that doesn’t focus on her while also cementing the soundtrack as a worthy substitute to the original. Most importantly, it puts a spotlight on artists from the continent in which the movie takes place.

It’s less an album, more a collection of savvy and generally savvy collaborations which blurs traditional genre boundaries unselfconsciously and acknowledges that Latin-pop is the sound of the near-future. Most of the time, it’s a credit to Sheeran’s songwriting skills and well-honed persona.

EGOLI is a scattershot and hedonistic diary of the collective’s week-long recording sessions, and each song offers an insight into the vibrant sounds of Johannesburg and the city’s unique twist on house, folk, jazz and beyond. Community and collaboration are a powerful force on this album.

A truly special tribute to a wonderful songwriter.

iii is probably a couple of tracks too long, but Banks has created another supremely intriguing musical world filled with ear-snagging lyrics and quirky production flourishes: the lone dog-bark sound effect before the final chorus of ‘Gimme’ is a classic Banks touch. It’s difficult to avoid the conclusion “that bitch” is a pretty apt description for her after all.

This is a remarkable later-in-life debut, and one that proves that it’s never too late to make the record of your dreams.

On Clarity she establishes a glamorously appealing pop persona that’s all her own: resilient, materialistic, ready and able to call the shots.

Despite having elite lyricists such as Pusha-T, Killer Mike, Yesin Bey and Black Thought among the guests, Gibbs never sounds second-best. Bandana should mark the moment the Indiana emcee starts to truly be considered as an elite rapper.

There’s little hope in ANIMA. Little in the way of joy. It sounds exactly like a record trying to say something about 2019 should sound. ... Fittingly, there’s shades of the 2007 videogame Portal here. A bit of Blade Runner.

Overthinking might be the enemy of rock’n’rollers everywhere, turning their instinctive licks into convoluted nightmares. But, in the case of Let’s Rock, a little more time fleshing things out from fine to thunderous could have made a world of difference.

It’s a full-bodied album and a journey--a journey we hope it doesn’t take them another decade to make again. Hopefully Jack’s telegram reaches his bandmates a little quicker next time.

Amidst all the experimentation and extremes of this impressive album is a message about life: bathing in the moments of ecstasy will ultimately enable us to cherish and value life more.

There are some total gems on ‘Late Night Feelings’, which are occasionally marred by a handful of sleepy filler tracks. But in general Mark Ronson’s immense talent as both a producer and songwriter shines through. It’s bold, brilliant and genuinely interesting pop music.

As prolific as he is iconic, Ride Me Back Home is Willie’s 69th (nice) album and sees him in absolute sweetheart mode.

Their determination to not bend to conventional song structure makes Schlagenheim an engaging piece of work that will reveal its true nature over time, perhaps. Black Midi are making music like no other band in the world.

Two Door’s fourth effort is far from a wall-to-wall success, but for a band who could so easily continue to tread their affable, well-worn path around arenas and festival main stages without a sideward step (as many of their indie contemporaries have and will continue to do), the risks and experimentation here are very welcome.