Trip at Knight is likely the closest Redd has come to snapping into the desolate, depraved world he’s so eager to create. When the ashes settle, there’s the sense that he still has some miles to go, but there’s no taking this moment away from him.

It’s the kind of record to laugh, rage, and cry to, very much delivering on its early promise of “All rip'rs / No more skip'rs.” Each moment, whether of effusive joy or of tender intimacy, is anchored in well-honed pop hooks, standout engineering prowess, and larger-than-life personality.

Dawn is just the beginning for Yebba, and the sun is only rising on her promising future.

A rich texture of sounds and concepts, masterfully weaved together by an artist at the top of their game. By rights, it will become essential modern listening - a thought-provoking and utterly compelling collection of tracks, delivered with understated yet captivating style.

With only the most faithful replications of the original performances falling in any way flat, the contributors' ability to balance reverential respect with an ethos of printing their own identity on these indelible songs is what makes I'll Be Your Mirror succeed where so many similar tributes nosedive into dull irrelevance.

This is a varied, but still stylistically consistent and wonderfully accessible album. It’s a frequently wonderful and often fantastic album that demonstrates and exemplifies the joys of nostalgia.

Emerging out of a fractious period, Buckingham is at his unapologetically unfiltered best on an album that teeters between yearning reflection and fast-paced kinetics, ranking as one of the tightest records released in his own right

Despite its love for the retro, it's still a modern and cutting edge work that feels essential for the scene right now. It's great to see a band from the back-ends of UK hardcore make a statement as gratifyingly massive as this one, that will hopefully grant them the audiences they deserve.

It’s an album that scores highly on philosophy and intellectual curiosity, providing a welcome moment of relief from the frenzy of modern life.

It is nothing short of iconic.

Dissonances and a more careful mixing of the vocals would definitely help propel the band higher up, but what we have right now is a mature trio which you would definitely appreciate beer-in-hand while carefully tapping your foot on a sticky floor.

Its effort to not just be another rock record is what makes it dazzle. Love City is The Vaccines in their own world, chiselled by the sounds that have trademarked them.

Lovesick, woozy, and somewhat optimistic, Are U Down? demonstrates an inherent musicality and dextrous ability that is likely to become magical in due course.

The distant foginess of nostalgia creeps in the background but doesn't overwhelm the record. A hopeful undertone allows that era to be reflected upon with acceptance and the old feelings to shine as clearly as they can through the mist of memory.

Park Hye Jin has single-handedly constructed a safe and supportive space for the introverted, sad, and disillusioned — a purely compassionate space put together by a single and inevitably singular talent for other lonesome souls to dance their sadness away.

TEXIS delivers everything that one could hope to find on a Sleigh Bells record: dance worthy beats, angelic vocals, and satisfying boisterousness. While TEXIS could have afforded more variability, it remains a testament to the act’s ability to express a range of emotions without killing the tempo.

There are some excellent discoveries waiting to be heard across a surprisingly wide array of artists and (sub-)genres. The collection features everything from safe recreations (White Reaper’s “Sad But True”) to left-field rejiggering (J Balvin’s rap reimagining of “Wherever I May Roam”).

By catering to everyone in an effort to uplift, Common doesn’t connect with the listener as much as he could–and as much as he has in the past. Common's big tent might be too spacious for its own good.

A record that has surpassed all of the greatness her previous efforts entailed. Exceeding the status of a collection of songs, instead star-crossed takes us on a journey from beginning to end with bound-to-be hits like “Justified” and “Cherry Blossom” along for the ride whilst perfectly conveying a story that yet has to find its ending.

While vocally she proves to be a voice as unique as punk icons such as Kathleen Hanna, or Poly Styrene, her form on Comfort to Me has her, and her band hurtling towards being 21st Century punk icons with ease.

Even in the few moments of weak songwriting or flagging energy, the band sounds powerful and unapologetic. Bad Waitress revels in that power, fusing wiry punk thrills, tangled interlocking instrumentals, and alluring acerbic charms with their debut.

The Ultra Vivid Lament is impregnated with an array of influences ranging from ‘80s pop to ‘90s arena rock to the band’s own (mostly) splendid legacy. There’s also a certain penchant for experimentalism, which takes the listener back to forgotten currents of post-rock aesthetics, even though the band is always commercially careful not to push the boundaries too much.

Certified Lover Boy is polished, well-executed and yet is completely devoid of ambition or memorable moments.

Suuns makes a point of honor to make the sounds as an absolute priority, the only small thorn lies in the melodies and vocals, sometimes too shy or idealistic to sublimate the whole.

Every single edition of this release is great value for money, and long-term and new fans alike will find hours of listening pleasure to be had no matter their budget.

A a bright example of both authenticity and creativity. ... Sometimes I Might Be Introvert is tactical, theatrical, and is the product of 100,000 hours spent honing her craft resulting in a body of work with heart, and its head firmly on its shoulders.

You Signed Up For This is candidly aware of the simple fact that you just don’t have everything right just yet. Combining this with Peters' constantly evolving and sharp song writing, and a braver, more mature sound, the singer-songwriter proves she’s one tough act to follow.

With art this bold and ambitious, Halsey doesn’t really have to choose between love and power: they deserve both.

hubby and the Gang are what punk should be in 2021; heavy, fun, and unrepentantly honest.

They inject even their most aggressive tunes with so much joy it becomes something incredibly hard to resist. Even after endless listens, not one chorus, riff, meditation or croon falls flat and none of it feels like it could've come from any band other than this one.

A wholly strong and fruitful debut album from the scuzz-pop prince, there’s no doubt we’ll see more maturity and critical creations in Lang’s future.

Other You isn’t quite perfect. The album leans too heavily on dreamy tempos; more of the ‘motorik’ reverberations of the Grateful Dead-jamming-with-Neu! gem “Protection” wouldn’t go amiss. Gunn’s step into the unforgiving glare of the spotlight as a singer coincides with some fairly densely cryptic lyrics, too. Such misgivings are minor gripes when faced with closer “Ever Feel That Way”, a life-enriching anthem for empathy and mutual care.

Space is primarily given to the meditative on The Joy Formidable’s fifth album, a dynamic achieved without sacrificing the blisteringly euphoric appeal that has ensured their longevity.

For the bigger part of Screen Violence, Chvrches keep things exciting while staying unapologetically themselves.

Any Shape You Take attempts to connect the dots, unafraid of expressing the depths nor the heights of a life lived with supreme sensitivity.

Everything explores anguish from loss but consequently finds gaiety within it. One thing that’s certain about Bnny’s progressive project is that its one to balance a surge of emotions,

Songs like “Solar Power” redeem the album’s sluggishness, with a fun attitude over an upbeat track which would feel like the carefree joyous song on the album, if the rest of it wasn’t so up in the clouds. ... All the genius on Melodrama seems to have stayed there, leaving Solar Power high and dry without any flavour or journey to embark on.

Nothing about Deep States feels authentically trippy, authentically dark or authentically weird. Near-on every element feels both forced and misguided, be it the performances, songwriting or the production. If in desperate need, just relisten to that Squid album instead.

If The Baby is the audacious younger sibling, then Scout is the more modest elder. ... It is indie rock that is at one moment huge and soaring, the next breathtakingly intimate. Delivering remarkably visceral songs, she is opening the window into a clear view of what will surely be a great and long-lasting career.

Deafheaven are the masters of tension and release, and this record reinstates that less is, in fact, more.

With Woman on the Internet, she doesn’t sound lost at all. It’s been clear for a while, but this album will smother any doubt: Gartland herself is no longer just a woman on the internet. She’s a glistening popstar; a proficient musician; a scrupulous producer.

Each track is married in evoking a similar sense of a vast misty landscape and hazy melancholic mornings, though the albums finale does this particularly well.

There’s fewer moments of Bird producing fireworks with her vocals throughout Different Kinds Of Light, and while that may leave some early fans feeling somewhat unfulfilled, it’s as strong a sign as any that she’s matured and is operating with a newfound dynamism as a songwriter – there’s more to her than just that huge voice.

They've created something cinematic, pragmatic, and above all, fantastically like nothing we’ve heard from them before.

Meet Me @ The Altar know what they are going for, and they do it well - showing off an undeniable songwriting talent in the process.

Loving In Stereo is a wholehearted triumph for Jungle, yet again delivering something fresh and distinctive to cut through today’s music landscape.

There’s not an ounce of fat, not a wasted moment, not a single beat that doesn’t suit its purpose to the letter. It’s a monolithic testament to a rapper tired of being treated as both the victor and the underdog at once. It’s undeniably clear just which one he is here. King’s Disease II is a victory lap that nonetheless never lets up its pace.

Foxing have crafted an album that expertly balances what drew in old fans in the first place – the borderline-unhinged emotional highs of their early math sound – with fresh, indie rock that is very likely to perk up the ears of new listeners.

While Independence Day doesn’t shine in the same way as the more refined Money Can’t Buy Happiness (executively produced by accolade heavy Dave), it shows a Fredo even hungrier, relentless and refusing to loosen his ties to the street.

Fusing progressive big-beats, deeply personal lyricism and intelligent song-writing, it once again reveals IDER as the indispensable voices of a generation. Utterly compelling listening.

Rashad’s gotten himself straight, and as a result he’s returned triumphantly from his 5-year absence with his best album yet.

We’re All Alone In This Together truly lives up to the quality expected of Dave’s sophomore album and cements him in time as a fallible but even more forthright voice of UK culture.

There's still an amicable charm to Take The Sadness Out Of Saturday Night but, overfilled with internal questioning and no reprieve of an answer, the sadness fails to truly lift.

Some of Creeper's tricks may have become repetitive and predictable, but whichever direction they take after the SD&IV cycle, they probably can't go wrong as long as there are plenty of Greenwood's vocal contributions. The interludes create smooth transitions, guitar crescendos build a gorgeous cinematic effect, especially on the EP's centerpiece "America At Night" and the anthemic "One Of Us", which sounds a bit like Green Day.

On Happier Than Ever the tempo never quite reaches fever pitch; instead, Eilish is content with the tranquillity of tried and tested methods - tentatively pushing boundaries, rather than cranking the distortion up to 10.

It may not astound, but like a visit from an understanding friend, it’s nice to have to lean on.

Not only is Gold-Diggers Sound the most cohesive release Bridges has put out to date, it’s also the most distinctive.

Thirstier seems to spin out of control in the name of artistic development. The daring dip into electronic garners mixed results.

An addicting 46-minute listen that grows with consecutive approaches.

Although Burch indulges herself in lovelorn lyrics for the entirety of the album, she manages to keep everything fresh and clean even when the tempo slows down.

Even while Spiral never quite touches on the grandeur of its predecessor, Jaar and Harrington here appear content as ever laboring over their unique vision.

Yellow has the cosmological foundation, but Thackray sounds nothing like the spiritual jazz artists of the twentieth century, nor like Shabaka Hutchings. She’s a unique voice in the London scene, and, as Yellow shows, her range is vast.

Don’t be fooled by the dry, lilting manner of delivery behind these tracks - each one holds up to close inspection and there is charm to be found in them all.

Unlike the majority of [posthumous releases], Faith speaks to Pop Smoke’s perpetuity in hip-hop’s current context, serving as less of a lament of what could have been and more as a memorial for what was and still is.

Both his tone and skill compliment the instrumental arrangements on each track, often effortlessly switching between his head, the mix and chesty voice are inspiring.

Short and sweet at nine songs, a few struggle to stand alone.

While the cosy acoustic folk of Sling is indebted to her influences — Joni Mitchell, Carole King, the Carpenters — Cottrill makes it wholly her own. ... While it’s a shift from the lovesick alt-pop of Immunity, it’s bound to be a transformative moment in her career. Whether she releases music for years or retires tomorrow, Cottrill can take solace in knowing she’s created something timeless.

By the end of Baw Baw Black Sheep the one thing we’re left wanting more of is Snow himself. His presence feels secondary to the album’s weakest cuts but, when given space to shine, the artist dazzles.

As carefree as it is frustrated, as playful as it is temperamental, WILLOW’s lately I feel EVERYTHING is a straight up lively hit of jaded emo bangers that will have a new generation of listeners whipping their hair back and forth.

There’s not much on Alpha that does surprise or show us a new side of Charlotte Day Wilson, but the side she shows us is now so masterfully presented and emotionally rich its not hard to be taken by it.

Promising and full of potential, the boys have delivered and exceeded expectations, it’s safe to say that their intoxicating indie rock cuts are here to stay.

Like with their lyrics, The Goon Sax are still working things out on the fly. Getting caught up in the feeling and riding the wave until they find some sort of conclusion. For the Brisbane trio, truly embracing that feeling, however messy, is what makes them so special.

This record has that waltzing, wispy quality which makes you want to stand on the top of a hill and have a good cry. It's far from the first album to do that in this style, and even further from being the most experimental, but it really nails what it’s going for.

Whether due to the pandemic or not, Contender however suffers from a lack of consistency mirroring the context in which it was created. Despite nuanced shifts in their sound, the blueprint remains much the same.

Subdued brass notes in the closer, “Left Handed Lover,” and the sludgy rock tempo shift in “Dogs” point to ambitions unrestrained by the genre confines of country and folk. Dozier does leave plenty of room to explore these ambitions more completely on a future project, but I Am The Prophet also remains dense and striking in its own right.

All in all, Pink Noise is a roaring success for Mvula’s reinvention. It’s a joyous celebration of her past, her present, and all the success that is to come in her future. Laura Mvula is back, and she’s not going anywhere.

Each element of Fatigue has its importance, distinguishing itself also by the prowess of some great and varied highlights.

Death of a Cheerleader takes a step back to roam over the whole of a young person’s identity, but the songs still pack a heavy punch. ... But in running the full gamut of young identity, there is pure, unfettered joy to be found even in the depths of rage.

CALL ME IF YOU GET LOST has no central theme or concept. However, where Tyler, The Creator shines on this project is how beautifully he fuses together the youthful angst of his earlier output with the older, more introspective side we have seen from more recent releases.

Aside from the constant stream of new sounds and instruments ("Revolution" may be the first song to utilise a steel drum for its big drop), the other joy of the record is its themes of self-affirmation and courage.

In its own way, Quietly Blowing It is great just like how the first few Paul McCartney solo records are great, or Tom Petty’s Wildflowers and Bob Dylan’s New Morning are great, or even albums by contemporaries like Laura Marling and Waxahatchee are great – it’s just pure, no bullshit emotional sincerity made for folks who need to feel a little connection to the wider world, to a greater consciousness. Best enjoyed often and amongst friends.

It’s a fine tuned record that leans into bold pop refrains whilst gripping firmly onto its DIY roots. It’s an irresistible listen.

Boy From Michigan is an intense, involved listen that is bizarre and wonderfully playful even in its most traditional moments.

One Foot in Front of the Other is joyful and unpretentious – Griff seems to have indeed found her footing in the industry and it doesn’t look like she’ll be leaving anytime soon.

While Pedestrian is not the most remarkable album, it feels honest and comforting.

Freed from the spectre of Unicorns' success and freed from the burden of their debut Return To The Sea, Islands offers us the transcendent Islomania, their most convincing album in 15 years.

Garbage’s seventh record No Gods No Masters is their most direct and overtly critical to date, making for a visceral, re-energising listen.

Where Shall We Begin is a must listen. It takes your hand from the offset, guiding you over each obstacle found on the album and gently lifts you down onto a bed of understanding at its end. Truly beautiful stuff.

Her vocal dynamism translates particularly well in rock-leaning settings, where her leaping registers make their way through enthralling kicks and mean guitar riffs.

It’s brash, bold, and sometimes a little cliiché, but it’s clear they aren’t done speaking up yet.

It shouldn’t all work together, but the record has a beautifully cohesive groove, the many disparate parts seamlessly fitting together in typical Rostam fashion.

A cohesive record, on Soberish Phair sounds polished, clean and equipped with a new arsenal of songs about breakups, addiction and small glimpses into her inner workings.

An album that is truly magical, Man Made is a stand-out debut. After giving everyone a bite of the fruit with previous releases “Downers” and “Hu Man”, this is the full showcase of her impeccable talent.

Zauner is absolutely in her element here and it goes without question that while this is undeniably her year, she’s also just rebranded herself as one of today’s top-tier indie visionaries.

Truly establishing themselves as the bright possibilites of guitar music, and blurring lines along with setting new ones out, ultimately with Blue Weekend, Wolf Alice continue to be the very essence of what is to be a band while also remaining - more importantly - human.

The subtleties written into the album's DNA make all the difference (with the mention of the album's title in so many of the lyrics acting as unifying sentiment), almost to a faultless degree.

The narrative is unsettling, but the music leaps and soars with a boundless energy that could only be made by two people with the utmost faith in each other. It helps that the album’s production sounds rough and homespun.

PACKS take the listener on an adventure of love, lust, pain, and dreams that’s beautifully melodic and instrumentally fascinating - it’s certainly one hell of a ride.