There have been plenty of albums borne out of the pandemic (Swift’s ‘Folklore’ era) and some whose recording wrapped up before it all went to pot (Dua Lipa’s ‘Future Nostalgia’), but few bridge the gap between the old and new world quite like ‘Who Am I?’ The band capture their optimism of a new life worth living, but never shy away laying bare the challenges of doing so in times like these.

An album that sounds like it was written as a soundtrack to the best film never made. [20 Jan 2007, p.31]

Heavier, harder and with a lot more clout about them, Circa Waves’ return is finally something you can believe in.

More than anything else, there’s a feeling that Dig Out Your Soul might actually be their best album in over a decade. In other words, not quite the fabled, oft-promised “Best one since fookin’ "Definitely Maybe!"" but certainly the best one since fookin’ "...Morning Glory."

here’s no doubting that the beats on Mastermind, as you would expect from a production roster including Kanye West, Jake One, JUSTICE League and The Weeknd, are exceptional, lush and bombastic and full of zaftig soul samples. So, really, it’s all down to Rick and whether he shows up. And he does.

Like Cyrus, it’s shameless, strange and supremely entertaining.

Ultimately, ‘Abomination’ feels like the first leap Lynks has taken into showing all their dimensions as an artist. It’s a refreshing change of pace to hear them not just deliver club classics, but also let their spiky persona begin to soften a little. .... The result is a thrilling, moving, life-affirming listen.

‘Archaic Revival’ is the centre-point though; nine minutes of tension-gripped, creeping bass and echoed mantras, its queasiness adds a weight of darkness to this mesmerising trip.

They’ve [experimental sonics] been added to the steadfast elements that make The National so good: clever turns of phrase, genius storytelling, Bryan Devendorf’s marching-band drums, delightful arrangements and piano and brass that work well together.

On his last musical hurrah, Glover has made a record as otherworldly as his other outings. Yet, ‘Bando Stone and The New World’ stumbles slightly – where its sonic variety is exciting, it lacks a clear sense of cohesion or theme compared to his previous work – making it a bittersweet farewell to the legend of Childish Gambino.

America Give Up is, quite simply, an effortlessly brilliant debut.

For the most part, Peace have made their 'difficult' second album look surprisingly straightforward.

A fine mix of fantasy and reality, made by a band who never run out of ideas, sung by a singer too smart to fall apart and too excited by rock’n’roll to stop being stupid.

Adhering closely to the template of Daft Punk’s two seminal live albums, crowd noise is mixed high, becoming another instrument as it responds to every hook with a spine-tingling roar.

It’s as nasty a little thing as it sounds, yet, for all the ugliness that spills out of Eagulls, they’re never anything less than vital; these are anthems for a doomed youth determined to kick against the pricks rather than mope forlornly and fruitlessly.

The risk here pays dividends. It’s their most ambitious and cohesive album to date and embracing their shoegaze selves brings renewal: for a band known for torment and chaos, it’s a joy to hear them sounding so hopeful.

Highly ambitious and original stuff, created in aid of the Scottish Love In Action charity.

Blue Roses, you see, is less Nash and more Bush, a dizzyingly beautiful set of delicate folk songs that sound like they’ve been sprinkled with pixie dust and reincarnated from some perfect bygone age.

Smith Westerns might not play barre chords, but they're properly good songwriters – smart kids with mean tunes, sharp minds and great record collections.

Equally, those who delighted in unravelling ["Phylactery Factory"]knotty, brilliant album will emerge dazed and blinking into the wide spaces and sweet melodies of Kairos.

This is an album that shimmers with warmth and cautious optimism from start to finish.

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.

The music shambles between arid Americana and early Strokes pep, but ultimately it’s Chapman’s grizzled longing that enchants.

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.

'Sung Tongs' brought a smattering of organization to the band's chaos, and now 'Feels' finally sees them emerge, blinking, into the sunlight. [15 Oct 2005, p.35]

Sharp pop moments shine brighter than some of the weaker ballads that pad out the lengthy tracklist. Yet ‘The Rise And Fall Of A Midwest Princess’ is a display of Roan’s bold and brazen pen, where she places searing revelations alongside some deliciously cheeky choruses.

It skilfully combines Neil Young’s dusty American songcraft with scratchy lo-fi and wandering electronic influences.

Bieber appears to have rediscovered his mojo, resulting in one of his most focused projects to date.