An album that’s ready to fall head over heels at a moment’s notice. It’s hard not to get caught up in his absolute lust for life.

It quickly grows dreary when there’s not a knowing smirk to match the intensity.

When the band aren’t flexing their muscles on arena-sized rock soundscapes, they prove themselves nimble and dexterous.

This record heralds her as one of the most enticing acts in R&B’s contemporary canon, near-guaranteed to become a bonafide star in her own right.

It’s a sun-drenched record of summer tunes that will sound even better when heard at festivals with a tinnie in hand. Yet look behind glittering shells of these tunes and you’ll find hugely personal stories, told with new strength and resilience.

This is an album that can and should be enjoyed without over-thinking.

You’ll be hard-pressed to find a more hook-laden and enjoyable catalogue of breakdowns and anxieties this year – this is arguably the definitive 2020 album.

Fans of their debut won’t be surprised by anything on here, but Kllo’s dexterous variations on a theme should win them over regardless.

While it’ll take more than four songs for any veritable flashlight to irradiate Skullcrusher as the answer, this EP will at least start us asking the question.

Although ‘B7’ could probably benefit from an injection of tempo from time to time, as well as a little trimming – the granular ‘High Heels’, where Brandy raps under her Bran’Nu alias, disrupts the album’s more refined moments – it mostly thrives, thanks to her unwavering resilience, the unique texture of her vocals and the stellar production courtesy of DJ Camper, Lonnie Smalls II and the late LaShawn Daniels.

A departure from their scrappy origins, this record is a big, grown-up collection of forward-thinking rock gems. Sure, it might not be as chaotic or feel as grimy as what’s come before, but it’s a deliberately larger-than-life affair.

‘Such Pretty Forks…’ might not be flawless, but in that way, it’s true to Morissette’s depiction of life – something that’s often messy and tough, but worth sticking with.

As well as weighty statements, there is a sense of closure here.

A brave, ambitious and nuanced album that looks to lead the band’s fans down the rabbit hole on a new, macabre adventure. Turning their backs on their punk roots was a gamble, but it’s paid off.

It’s not something you’ll be hankering to press play on repeatedly. Not that it’s bad music: excuse the pretension, but it really is an experience; one that would lend itself better to accompanying Jaar’s physical art installations than a standard album listen.

In aiming to examine the self rather than please others, Fontaines D.C. have exerted a knack for writing anthems that are at once self-excoriating and intimately relatable.

‘Free I.H.’ is a wild ride of cathartic outpourings, big declarations and the freedom to do whatever they want. Weighed down by the struggle but relishing their victory, it’s a record that offers conflict and comfort.

‘Folklore’ feels fresh, forward-thinking and, most of all, honest. The glossy production she’s lent on for the past half-decade is cast aside for simpler, softer melodies and wistful instrumentation. It’s the sound of an artist who’s bored of calculated releases and wanted to try something different.

Throughout the five tracks, Walker’s lyrics never feel anthemic. Rather, they are personal, almost as if she’s right there with you. Her words are a balm: comforting advice of an old friend through a Zoom call.

Musing on the break-up of a nine-year-long romantic relationship, simplicity is key to ‘Old Flowers’’ innate grace.

While they’re not bringing anything musically innovative to the table, they’ve re-packaged the sounds in a way that feels distinctly 21st Century. It’s extremely good fun and presented without pretence – and that feels like enough.

‘Pain Olympics’ is a disturbing, joyous, cataclysmic listen that travels from claustrophobia and fear into wide-eyed expressions of joy.

‘Love + Light’ feels like it soundtracks your entire night out – from your first steps into the club to arriving home after hours of raving.

This is arguably Cocker’s best work since Pulp’s 1998 comedown record ‘This Is Hardcore’ and certainly a greatly promising start to his new chapter. Cocker remains in an entirely different class.

‘Lianne La Havas’ is a far more cohesive record than any of its predecessors, focused around a primary nucleus of intimate vocals, nimble guitar-work and driving percussion.

The first quarter of the album is a soothing ode to an immense talent gone too soon. But soon the record starts to sprawl and spiral.

The Ghost Inside’s self-titled, fifth album is a towering statement of positivity, transforming pain into catharsis, determination and hope.

By spotlighting upcoming artists alongside established names, 100 Gecs give an IRL boost to their ever-expanding community of internet collaborators on ‘1000 Gecs & the Tree of Clues’ while providing an exhilarating snapshot of pop’s alternative future.