Overall, it’s a massive improvement on the disappointing Issa Album, with 21 Savage showing maturity whilst keeping his dark humour and persona.

Complex, surreal and divine. Noonday Dream is Ben Howard's best work to date.

We are guests in her world, after all, and Hell-On is precisely the breezy rock record we may need right now. If you need proof, any of the 12 tracks here will suffice.

Write In sees them continuing to demonstrate just how deceptively subtle their shifts in sound and approach can be, and the depth of their songcraft reveals itself over repeated listens in ways it never did before.

The only other hiccups are a couple of occasions when the synth lines get a little too rambunctious for their own good, bordering almost on comic. These blips aside, Certainty Waves is inventive, uplifting and fun, with something new to be discovered on every listen: an excellent entry into the Dodos’ discography.

The contemplative, climactic nature of Suicide Songs, filled with layers of swirling strings, glorious brass sections and celestial vocals, resonates with an affirming sense of having confronted death face to face. The timelessness of this album reflects the nature of its subject matter.

Compared to their debut album, Dunes marks a step up in the band's sound.

He hasn’t crafted the second coming of Deltron 3030 but a contemplative and diverse delight. We can only hope Offset’s impending solo debut is just as good.

Acoustic guitar-driven folk music blends fervently with spoken word-esque rap verses and passionate R&B-mingled choruses through fourteen emotional purpose-driven tracks brimming with woke material and a call to change for the millennial '90s baby generation like the passionate artist out of Stone Mountain, Georgia.

Mystery Hour is a wistful, weird collection that shows once again that break up songs are the best.

Orc is another immensely satisfying offering from one of underground rock’s modern heroes.

Salutations is good, but it is apparent it could have been better. Rather than swing for the fences, Conor and crew settled for a base hit that didn’t move any runners on base.

Overall, Paradise is a safe bridge from HOPELESSNESS, where the singer is able to express herself in another wide collection of musical manifestos.

The second Drugdealer album isn’t quite the knockout it could have been, but it easily delivers on the promise of Collins’ debut. If his idea is to let this latest incarnation stick around for a while, we’re in for a real treat.

Room Inside the World is a trove of art-rock and post-punk. Always leaving the listener quite unsure of its potential, it cements Ought’s reputation as an exciting band perfectly capable of evolution and reinvention.

Eminem was really rapping across an entire LP again (something I’d never say elsewhere: Rihanna is not missed), stans were going to like it too much, while his inflammatory remark is sure to prevent most any of the unconverted from being able to engage with the music itself.

It's pleasing to discover that, even when taking his time, Ty Segall is still able to deliver the magic of spontaneity and urgency that was scorched across his previous albums.

Platform is a record that reveals itself slowly. An intelligent, intoxicating electronica record that draws the listener in and revealing new truths as it goes.

Perfect Shapes is a confident step forward. It all bodes well for whatever shapes come next.

Messes is an album that’s likely to fly under the radar, as it is being released into a field that’s already crowded. But, anyone that gives it a chance is likely to get Stef Chura’s idiosyncratic vocals hooked to their brain, and will be enticed to give it more time. It will only reward further listens, as the subtleties in this simplistic joy are many.

Wells has described Promise as the kind of album that requires patience and time from the listener. But considering how captivating and compelling the music can be, the time is well spent in the end.

Overall, this is an album packed with huge riffs and honest intent from a band who seemingly have a new lease of life.

To be fair to him, Morgan Delt is very, very proficient, nailing the '67 sound while injecting a dose of discipline that many imitators miss.

There are glorious moments of reflection to be found throughout The Last Panthers too. Circuitous, sweeping pad interludes that, more often than not, come in the form of unusual and unsettling chord progressions to jolt the beauty that's frequently on offer.

It's a gorgeously facetious record that succinctly sums up a breadth of adolescent issues; this is the kind of record you'd play when you 'rents were out, or when you've just been dumped, or when your younger sibling got you into trouble and you're sulking.

It is sad that there isn't more music being made with this level of political engagement at its heart, but it is encouraging that Spectre exists.

On his frequently divine debut album, Hayden Thorpe may well be a new man, untethered from his band, adrift in space and time, yet safe in the hermetic seal of an intricately designed vessel, but the desire for human connection will seemingly always bring him out of his shell and back down to solid ground.

Tomb benefits from having a slightly cleaner sound and the results are remarkable. Tapping into the potential his past albums only hinted at, It's polished just enough that the songs boast a greater clarity but without losing any of the homespun intimacy of his previous recordings.