A truly unique gem. ... The band have said they want ‘Heart Under’ to feel like the experience of driving through a tunnel with the windows down. Through deliciously inventive musicianship they’ve created something even more thrilling.

A few good lyrics (“You’re in love with the future / I don’t know why”) and some bad (“Why don’t you listen to your momma? / She’s old”) stick out, but the narrative hook is stronger in theory than in practice. ... The music on ‘Raw Data Feel’ is the band’s best, catchiest and most focused to date.

After living with it for a while, you’ll come to appreciate ‘EYEYE’ as a record that breathes, sighs and will leave you lost in the same dazed revery that these tracks were born from.

[The] change in pace makes for a welcome modification to the Flume sound, which is elevated by his rich, newfound sonics. Yes, Streten can still soundtrack your night out, but on ‘Palaces’ he’ll also gently bring you back down to Earth when morning comes.

Porridge Radio are sharpening their craft, but they’re not pretending anything’s any easier, and that’s what makes them such a uniquely compelling band.

‘Harry’s House’ is undoubtedly Styles’ best record yet and presents a musician comfortable and confident in what he wants to create right now.

It’s one of the deepest cuts we’ve had from Kendrick. While ‘good kid, m.A.A.d city’ showed the world what it’s like to grow up as a kid in Compton, his fifth album serves up vignettes about what it’s like to be a Black adult whose trauma still haunts them.

The blues kings show no signs of turning off their well-beaten path here, but they’re still capable of conjuring enough magic on the journey.

In cutting some new shapes, this supergroup have been set loose to make some of the most arresting and satisfying music of their careers.

It feels like a joyous, slowly unfurling epiphany. It’s a gift to be able to listen in.

Epic in sound and vision, its sprawling Americana and gritty rock’n’roll taking in the big themes.

There’s no sense of bet-hedging in its lengthy runtime and no real filler. It’s the sound of an artist in his imperial phase doing as he pleases without needing to try too hard: not just a low-key flex, but a richly entertaining listen.

The record doesn’t feature a bunch of seminal tracks, instead packing filler between his knockout singles such as ‘First Class’. You’ll find a gem or two here and there, but this collection’s longevity is questionable.

Pushing the boundaries of their sound and leaning into pointed lyricism, this record is a welcome new chapter for the band.

Philosophically, they haven’t been so focussed since 2010’s ‘The Suburbs’, nor so musically dramatic since 2007’s ‘Neon Bible’. Subscribe.

The album is excitingly dynamic as it cycles through its varied but unified vibes – whether that’s the uptempo, dancey ‘Hips’; the spacey, seductive ‘Like Sweetness’; or the moody ballad ‘Trouble’. There’s a maturity to the lyrical content here, which by no means undercuts its playfulness.

‘Headful Of Sugar’ sees the band more confident and more in control. Using those feelings of helplessness as fuel for the fire, this album is full of enough strength, empowerment, resilience and joy.

All of the well-worn Belle and Sebastian hallmarks are present, but what’s truly impassive is how effortless it all sounds this time around.

It may lack the immediacy of 2018’s hookier ‘Remind Me Tomorrow’, but this unyielding record is, at times, a powerful reckoning with the age of uncertainty.

At times, in the past, he has relied on his autotune to compensate for lacklustre lyricism, but Future is a megamind whose pioneering spirit is the very reason trap feels alive today. With ‘I NEVER LIKED YOU’, you’ll happily applaud him for that.

Towards ‘Blue Water Road’’s conclusion, things start to drift a little, ‘Everything’ feeling longer than its three-minute-27-second runtime and the Thundercat and Ambre-starring ‘Wondering/Wandering’ not quite landing as memorably as you’d hope. For the most part, though, this album finds Kehlani in spectacular form – softer, stronger and better than ever.

‘Zeit’ might be a more reflective album than previous Rammstein records, but it’s still an energetic, swaggering beast.

An album both beautiful and challenging.

This project is sure to surprise fans with its unique sensibility, further showcasing how difficult it is to constrict the artist into any specific genre. Chaz borrows multiple elements to create something wholly unique, skating through sounds to create a genre pastiche to suit every taste.

Prochet’s vocals exude a satisfying, calming sense of gliding and her melodies are strangely life-affirming, as if conveying a peace deeper than just the words they deliver.

Pusha T has managed to elevate his art to new heights, signalling that the artist is nowhere close to being done. Despite being longer than ‘Daytona’, there is succinct preciseness to ‘It’s Almost Dry’ with Pusha’s lyricism, in particular, never left wanting. Alongside the outstanding production, it makes for an instant hip-hop classic.

The glorious quirks and inventiveness of Let’s Eat Grandma’s earlier work might be amiss on ‘Two Ribbons’, but its immediacy will likely win them new fans. This is the stirring sound of reinvigoration in the face of loss.

In every way, ‘Bob Vylan Presents: The Price Of Life’ is a far more eclectic record than anything the duo have released before. Their alt-rock tracks about inequality will speak to a wider audience but the band never soften their edges or pull their punches in a bid for accessibility.