Across 11 tracks, Jessy Lanza has delivered her strongest album yet: ‘Love Hallucination’ is a record that boldly soars towards synth-pop ecstasy while retaining its experimental desire.

These are some of the most interesting and sonically varied songs of her entire career.

A truly lovely thing to behold; a pretence-free, summery shimmy through pop's enchanted garden, with tear-tugging Bacharachy bits and choruses of angels and everything.

‘Multitudes’ was written in part during an experimental and communal set of shows Feist put on through 2021 and 2022 by the same name, and 12 poetic tracks that make up ‘Multitudes’ embody the same inventiveness, intimacy and connection of that limited run of performances in the round.

Heartbroken, but heavenly.

They may be Pivot no more, but they're turning heads – and for all the right reasons.

Though longing and mortality have long been recurring themes in Dacus’ music, the stakes feel even higher – and even more gripping – when there’s so much to lose.

Banks, Kaufman and Barrick prove far more than the sum of their parts, turning on a bright light of their own.

In the poetic and thoughtful nature of it, as well as the odd glimpse of where she could go next, WILLOW’s fifth record should be noted as her breaking sonically mature new ground.

It’s perhaps not the best month to be showing such unabashed love for Phil Spector, but timing aside, this is an outstanding album.

Far from softening Parquet Courts’ edges, [producer Danger Mouse] has enhanced everything that makes the quartet great--sound, imagination, style. The Beastie Boys, Black Flag and Talking Heads are all here in spirit.

The Temper Trap relocated to london in May of this year in a bid to woo the uk: this is not a bad calling card at all.

One Thousand Pictures is pop in a tar-pit--black and sticky, but wonderfully pure at heart.

[The songs on Majenta] confirm Edgar's inimitable creative talents.

There’s almost something for everyone on Dose Your Dreams, and, thankfully, that eclectic aspect to Fucked Up’s most ambitious project yet means it leans more towards opus than hopeless.

This is the unmistakeable sound of a star being born: this is an album with something to say, in a voice all of its own.

It works well as a fun stop-gap before Segall’s next solo effort, ‘Emotional Mugger’, arrives in January.

Following the birth of her first child, the underappreciated Laura Veirs recorded an album of mostly traditional folk songs for children, which has charm far beyond the nursery.

A record, feels truly – and brilliantly – emblematic of the sharp, controlled chaos that Paris Texas have honed over a handful of previous EPs.

What's extraordinary about Otherworldly--its expressive saxophone blare, heavy afro-funk workouts, hepcat proto-rapping and unyielding positive vibes--is that it feels like these dudes haven't aged a damn day.

Mountain Battles is both a joyfully lived-in and boundary-free album.

180 doesn’t contain too many weak moments; only the tacked-on-at-the-end ‘Brand New Song’ feels properly superfluous, an in-joke they’ve run a little too far with. Otherwise, you’re struck by the strength of the songs, and the roguish, self-assured charm with which they’re delivered.

This record is not the sunburnt wooze of Tame Impala: it’s angrier, colder.

It’s truly dreamy.

Lost Friends is a set of pile-driving anthems that demands your undivided attention.

Father of Asahd isn’t perfect, and the celebratory baller vibe can get a little tiresome at times. However, this time round, whenever Khaled shouts “Another one!”, his catchphrase, it actually feels merited. DJ Khaled’s true talent lies in bringing people together.

It’s an all-enveloping record that puts the listener at the centre of the overwhelming intensity of Ferreira’s life these past few years – and offers a front-row seat to her wrestling back control.

Exploration of I, Gemini reveals its quirks are knitted together with extreme smoothness.