As Arrow progresses, we get a clearer sense of how she's beginning to understand what she seeks. And though we're never exactly sure what it is, her music leads us to a full conclusion.

Mature Themes celebrates many of his favourite artists, but it is not an homage to anyone or anything. That is its great achievement.

An album you should definitely own, and a band you should definitely watch.

Though the band's approach is fairly consistent throughout the album, there are instrumental ideas explored with tracks like In The Branches of Yggdrasil and Nice Riff, Clichard, the latter of which takes a shot at some melancholic Richard D. James beat invention.

The latest in a series that's now produced two very good albums, Something For All Of Us... succeeds on many levels and is a testament to Brendan Canning as a solo songwriter and not just as a member of a very succesful band.

From the moment it starts to its very last note, Final Summer comes rich with gargantuan hooks that make you feel alive. His more hopeful outlook might have inspired this creative renaissance, but Baldi unintentionally emphasizes the simple pleasures of a rock song with an earnestness that shadows his complex songcraft.

And, though, theirs is not the only voice of dissent, they continue to provide an argument against convention. And, it's very convincing.

Even though we get a catchy moment of goofy, snarling country midway through, the album is a result of the emotional clarity that a year in quarantine provided. Swift has written about curdling relationships splendidly in the past, but there's a new dimension to her writing that wasn’t there before. Onward.

Glass Boys is a more than worthy accomplishment from a band that has been too busy playing by their own rules and constantly rewriting what it means to be punk to care about others expectations.

Negro Swan is another sure-footed step forward. It’s rare that an artist can operate within the pop template, collaborate with household names and still produce work that can be considered as significantly culturally important, but that’s what Hynes manages.

Algiers is immense, genuine, and, at times, heartbreakingly beautiful.

She's near the peak of their powers, if not actually at the summit.

Overall, her empowering message points at the daily toxic attitudes that female celebrities deal with. Screen Violence also projects confidence in a musical sense with its grand synth-pop and new wave, resisting and challenging the misogyny that unfortunately reaches far beyond our screens.

It's another brilliant album from one of the genre's foremost artists.

Græ is a textural wonder, with soft electric guitars, Sumney’s beautiful voice, and glittering synths making up most of the album’s heavenly sounding songs.

The two have crafted an album worthy of their names, stylistically bold and also a whole lot of fun.

The result isn't a glorious one, that's not really what The Mountain Goats do, but it is a very strong addition to an already vast canon of work.

It’s music that will soundtrack those peculiar moments where you really pay attention, free of distractions. This is music to spend time with and worth making time for.

One of his consistently best albums and the one that perfectly captures the restless creative spirit that continues to push Yorke beyond his comfort zones at a time in his career where other artists would likely be happily settling into theirs.

Bits of Medulla sound similar to Vespertine, but there’s a marked distinction in the means of delivery and enough change to keep things interesting.

Warm and elegant, careful but not calculated, Ward's production stands perfectly alongside his solo releases in terms of sound, style and impact.

A fuller, more measured affair, In Flesh Tones is an impeccable weaving of threads.

As much as High On Fire pride themselves on their recorded brand of relentless brawn, How Dark We Pray, down to its fine solos and overall execution, is the album's best moment.

Whilst it might not be the powerful, dark electro that some fans had been hoping for, there's no denying that the more matured Justice is pretty damn good.

Gough has crafted a beautiful sonic masterpiece that is equal parts raw, open emotion and simplicity and a picture-perfect example of a truly layered production.

On Inside of Rose, the duo chisel their rimy, amorphous arrangements into a finely pointed portrait of emotional disintegration.

Lovesick Utopia is fairly lightweight and doesn’t grab the attention in the way that most of the other tracks do, and while Keep Moving is accompanied by a great video (co-produced by Wilson herself), it comes off as an imitation of a Jessie Ware track. These are minor complaints though, as the long period leading up to this record—not to mention the time afforded for additional audio work due to the coronavirus pandemic—means Wilson has had the space to hone her sound and deliver upon the potential her earlier releases promised.

Through the album, EMA never judges or grandstands. She takes snapshots of life outside metropolises, inviting everyone to look closer at those left behind in the outer ring.