No matter your view, Scaled And Icy is Twenty One Pilot’s at their most fun, and while it’s not a home run, as a society it’s a time for exploration and change, and the duo have pasted the pastel colours on heavy ready for when the sunshine decides to grace us with its presence.

Seeking New Gods is a fantastic album – and certainly one of Rhys’s best. No matter how odd the concept, or how strange the inspiration, each album that Gruff Rhys releases seems to prove that he couldn’t make a bad one if he tried.

An album full of calming energy, with vibes to soothe the soul and the mind, and put a smile on your face.

She has a knack for building tension, crescendoing her voice and emoting her words to a point where it almost rings as euphoric.

Clocking in at sixty-two-minutes, Intruder finds Gary Numan undeterred in continuing to push at the buttons of a world increasingly devoted to its own demise.

It’s a rich tapestry of sounds that comes straight from the heart. That might be Marten’s secret ingredient: no matter how left-field the compositions are, whether warming or breaking, there’s always a lot of heart in the music.

Ultimately, Indian Yard doesn’t really leave the listener knowing Ya Tseen. But some songs do hint at a distinctive identity.

Mdou Moctar’s energy for revolution is full force experience, as exhilarating as it is inspiring, and it is made more powerful by his sincere love and understanding of the Tuareg tradition. Afrique Victime bottles this fervency not only so more can engage with this resistance and its ideas, but also so we can be reminded of the nature of true rock 'n' roll rebellion.

Allow a while for these songs to seep in, and The Monster Who Hated Pennsylvania will leave you deeply moved, and desperate for more.

They’re all interesting concepts and ideas that work, but together they create a disjointed and bizarre listen.

Young Heart is consistent from start to finish. While it won’t necessarily ruffle many feathers, it’s a coherent addition to an already charming catalogue from Birdy.

The immense variety on this record does not come at the expense of cohesiveness nor its ability to progress the themes of the ensemble’s previous work.

Forget everything you thought you knew about St. Vincent, because this is Annie Clark 2.0, beamed in from an alternate reality, ready to blow your mind. Daddy’s home, and she’s sounding better than ever.

While Forever Isn’t Long Enough doesn’t venture far off the beaten track with its lyrical content, the musical arrangement and writing on each and every song is a joy to listen to. Templeman’s songwriting is unmatched amongst his fellow 18-year-old musicians, displaying both a successful present and a bright future.

Blood Bunny is reassuring, and as a body of work is an example not just of someone going through this same turbulence, but flourishing regardless.

It looks at dodie from every angle, finding her at her most broken, joyous, angry and reflective, among instrumentals that capture the same conflicting pulls. Where Build A Problem succeeds most is translating these struggles into towering drama, making music to listen to closely, feel deeply, and champion loudly.

The second half passes with little to no note, leaving a yearning for perhaps a bit more adventure in the future.

It’s a huge, sprawling Britpop epic that evokes The Verve, Oasis and even U2 in its scope and power. There are walls of guitars, layers of backing vocals, thunderous percussive blasts.

Hardcore fans will likely find things to be affectionate about here, with Pollards knack for sweet melodies with a rough edge still just about shining through, but the safe production and tired performance means Earth Man Blues is ignorable for those outside of the '90s indie sphere.

There's no doubt that the five-piece have created something incredibly special, and they’re already working on a tour to showcase yet more new music for later in the year – nothing can keep them still. The world is truly Squid's oyster.

The accompanying music speaks for itself, filling every inch of Second Line’s constructed microcosm with the metallic hue of fuzzy synthesizers, reverberating chimes, and booming bass. Richard’s voice floats through it all, shepherding newcomers with an intoxicating haze.

This record is shamelessly Citizen. Each track holds its own distinct mood, along with the signature poised aggression that they've meticulously sculpted throughout their career. ... Their strongest work to date.

Whilst they recognise that change in any capacity comes with risks, they are taking matters into their own hands, and coming out the other side better for it.

It's a strong debut that will in no doubt be held in reverence for its musical deftness as it will its personal exorcism.

Thankfully, Mutator proves that Vega was capable of moments of excellence, even without his Suicide co-pilot Martin Rev. These are great songs, and wonderful additions to Vega’s ever-expanding back catalogue.

If A Black Mile to the Surface was the band’s first record back following a rebirth of sorts, then as far as the difficult second album’s go, Manchester Orchestra have absolutely nailed it.

Cementing his return with unearthed new, innovative territories, Robinson ensures electronica has never felt more organic as it does on Nurture.

Though Never the Right Time may be more introspective and relaxed than previous releases, Stott's unique take on nostalgia and the exploration therein is intriguing enough to make up for some minor pacing issues. Andy Stott can still do no wrong, even if his sonic landscape sounds so distinctively so.

Californian Soil is London Grammar in an act of gradual evolution, signs hinted at on their sophomore outing but blossoming to a greater extent here; retaining an ability to innovate within the parameters of their synonymously plush electronic soul.

This definitely isn't for everyone, and the production and mixing is particularly un-inviting this time around. ... But the sheer tunefulness in the songs beneath it all is actually incredibly heartwarming, and something that deserves as much attention from the adventurous indie listener as it currently gets from the rock and metal gatekeeping elite.

It’s a real pleasure listening to the group traverse a new obstacle in working more with external artists. And while this album may lean on them too heavily, this is undoubtedly the same BROCKHAMPTON.

Being given the chance to reappraise the original tracklist is a joy, too. As part of this new release, it’s a tremendous pleasure to re-hear the artistry in “White Horse”, the restraint and delicate pull of “Change”, and the heartbursting strength of power ballad “You’re Not Sorry”. ... The only downside to this new edition is that it will be virtually identical to the original to casual listeners.

The record is certainly clever but feels stripped back in comparison to their 2017 debut, now relying mostly on pointed lyricism that deftly avoids pretension. It’s a move of maturation as they continue to shift further from their Portobello Road busking days of indie hits “Over and Out” and “Light Me Up”. In a strange way it feels as if Flyte have returned to their roots.

It’s equal parts silly, serious, camp, and on occasion mildly ridiculous, but remains wildly inventive throughout, it’s one hell of a party.

If Neo was hyperpop’s answer to Squarepusher, Lei is our Autechre. IGLOOGHOST has managed to create sounds that feel completely organic and naturalistic yet hyper-digital at the same time - anchored on occasion by violin embellishments, dutifully adding a tragic grit to the songs, stopping them from drifting away. There's a real variety too

Her earnestness makes for both difficult and comforting listening, as she vocalises some fairly morbid tales while offering comradeship through the strife.

Godspeed continue to perform with a bold and alluring command and unlike their peers, a majority of their output lands on a much wider scale.

Luckily, on a 19-track album, there are more gems than duds. Lovato is more willing to experiment than on previous releases, both through her music and her voice, which is more versatile than ever.

With the totally triumphant Course In Fable, Walker has devised the ultimate two finger salute to anyone who has ever pinned him down as an artist chained to vintage inspirations: this exciting, moving, beautiful and complex album sounds only and exclusively like Ryley Walker music. Listen to it with the attention it so richly deserves, and rewards.

In the past decade or so, countless bands have been brought up from the same well of tightly-wound, expressionistic rock (Protomartyr, Preoccupations, Shame, IDLES, Shame, Fontaines DC), but none hold the same uniquely fascinating appeal that Dry Cleaning have. Play New Long Leg loud, and play it often.

Unfortunately, for an album that’s main theme is duplicity, it can’t help but feel a little one-dimensional (lyrically at least). ... However, Wasner’s sculpting of emotive music through sound and texture rather than key is special, and Head of Roses is by far her most successful rendering of it.

Promises matches the patience required for the project’s realization. Built on a sparse keyboard figure, the composition at the core of the collaboration can initially seem underwhelmingly slender, even repetitively monotonous. Repeated listens gradually reveal a different story.

Some of what emerges from this flood of archival activity is essential (unreleased 1974 album Homegrown, released June 2020), some of it is must-hear for even medium-level fans (Rust Bucket) and some is for die-hard fanatics only (Return to Greendale, a live rendition of 2003's tune-dodging rock opera that came out in November 2020). Young Shakespeare belongs firmly in the richly rewarding middle category.

Sketchy is a bold album in so many ways but it’s also incredibly, comfortingly Tune-Yards: High energy, offbeat movements, looped vocals, powerful cries, incredible rhythms, a belief that fighting for what is right is the only option. It’s life affirming.

The album as a whole is a sure-fire sonic adventure. Allowing creativity to take the reins, Howard has reinvented himself with his latest installment through a blend of storytelling and evocative sonic fillers. Now, he is one of the UK’s most naturally talented songwriters, with an added sense of style.

By the tenth track of verdant metaphors and leafy imagery, it's hard not to wish for the return of some of the angst which characterised The Antlers' earlier works, just to add a bit of bite. Still, with spring just around the corner, it's hard to be churlish. Green to Gold is a befitting album for lazy summer mornings.

His creation of such an overt sense of nostalgia, grief, loss and mourning, whilst also making time to make statements on social justice issues is impressive.

These are world-class songs, thoughtfully sequenced into an endlessly replayable record. DEACON is, quite clearly, a complex, rich and elegant collection that points at one very simple truth: love is central to a life well lived.

Twin Flames sees Postdata at his most carefree, in this sense – a split-tone successor to the tumultuous nature of its two preceding albums.

Owusu’s debut offering not only manages to deftly balance style with substance, but does so with a jubilance that gives as much reason to curl up your own most toothy grin. More importantly, it also offers moments of reflection.

Joy’s fluttering vocals reflect the ancient feeling of the folk genre, but the soaring chorus balances that feeling with a modernity, paving way for the more pop-leaning aspects of the record.

With Great Spans of Muddy Time William Doyle has now become his own man, capable of producing work on an equal level to those who have come before. It’s exciting to think of what might come next.

Chemtrails leans further into the sounds of sunny, ‘70s California - summoning Judee Sill and Karen Dalton - and it’s watertight too: her first 45 minute album since her debut. Sonically, things sound gorgeous.

There's no doubt that Spaceman offers guilt-free pop with a tinge of R&B. Unfortunately, this doesn't make up for the lack of depth and emotion which means, despite being Jonas’ strongest work yet, the album still runs the risk of being forgettable.

Nubiyan Twist and their cast of collaborators are so adept at what they do. Bouncing off each other, and melding genres while still always feeling like a Nubiyan Twist record. Creating an album that’s satisfying in it’s playful and oh so funky breadth, if not it’s depth.

A concept album this is not, but the with the veins running deep with recurring themes, as a second album, Davies has managed to construct a weighty signifier of impassable change. ... Packing a punch musically; twisting and turning; immersing with piano interludes branching elegantly from the albums introductory roots (“All Shall Be Well”), the softest nature is held for later cut “5am” which feels as vulnerable as it does honest.

I Won’t Care How You Remember Me marks the first true collaborative Tigers Jaw album. The result is a record that feels more emotionally nuanced than anything that’s come before it, and as such feels richer, and lusher than Spin, despite harbouring thinner production qualities.

Echo is an offering with a success that can be judged in the way it evokes such imagery, notwithstanding the fact it wears its influences so visibly.

Poster Girl excels in its creativity, riffing on familiar pop music tropes to make fun and surprising tracks.

There’s nothing inherently bad about When You See Yourself, but it feels like you could merge it with any releases from their last decade of activity and construct an album that has some heart to it.

Dancefloor-friendly pop music, but of a variety that remains intoxicatingly unmoored to the conventions and codes of the earthly realm.

Touching on Northern European chamber, opera, and folk traditions as they steer through a minefield of club-ready moments, Catharina Stoltenberg and Henriette Motzfeldt have created a sonic topography that thrives on paradox - it’s a disorienting pleasure to navigate.

Despite its tumultuous origins, In Quiet Moments is certainly a more accomplished record than its predecessor. An improvisational grounding and a strong lyrical brief have allowed the impressive list of co-signs to feel more pertinent, and in that, more able to successfully explore thematic material, both sonically and lyrically.

In Ferneaux is arguably Benjamin John Power’s most subdued effort under the Blanck Mass moniker. It’s a slower, more meditative affair which deviates significantly from its predecessors and whilst there are gleaming examples of Power’s sonic craftsmanship, they’re hindered by sections of profound aimlessness that move against the defined conceptual direction to be found elsewhere on the album.

It’s a record of successful explorations of musical avenues. The sparingly-used vocals enhance the instrumentation that, itself, moves between the minimal and the more full-blooded. A first rate illustration of growing musical ambition and inventiveness.

Nature Always Wins is an ambitious album. From the understated "Meeting Up" to the sprawling and off-kilter closing number "Child of the Flatlands", it’s the sound of Maximo Park not so much maturing, as it is them evolving. And while Smith might well argue it’s the sound of them aging, there’s still plenty of life in them yet.

The Shadow I Remember suggests something is incomplete, the band failing to consistently scale the heights capable at their gut-punching best.

Are there a few weaker moments here and there? Sure. ... But it’s impossible to be bored as you move from the filthy heaviness of "Giving Blood" to the punchy, melodic "Meteor", all the way through to the gorgeous choral rapture on "Dying Is Absolutely Safe".

The flow of the album makes it feel effortless, and not as if it was crafted periodically and with every detail mapped out. And as Sultana welcomes us into their very own Garden of Eden and we absorb further into the grooves, their honed craft is revealed.

The execution isn’t quite perfect - at times, you can feel the record trying, as if it’s labouring under its own weight. But the band, and particularly Ross, deliver it with such honesty that that much can be forgiven.

This is a lovely, lovely piece of work from a band that are still to produce a dud.

She subverts expectations and embraces contradiction, creating fascinating sonic concoctions with familiar ingredients, all brought together by her twisting melodic sensibility.

Granted, introspection is nothing new for the Newham MC, whose past works have tackled cancer, colourism and voting abstention—but here he lays bare his own story with disarming frankness.

While these tracks aren’t necessarily bad by any set definition, it’s worth looking at them through a critical scope and for grand moments like these that once carried so much weight early in their career, we have to begin asking ourselves just how many times can a group reduplicate their sound before their efforts simply become white noise.

A subdued record tied to no one setting. No matter where it is, Somewhere is a place of subtle beauty to find solace in.

Overall, TYRON is not quite the same intense powerhouse as Nothing Great About Britain. The strength of the first half gives way to half-hearted examinations of one’s place in the world. But Slowthai still delivers a compelling record which seeks to discover and establish a self-portrait that’s a little messy but worth praising for its efforts at rough-around-the-edges ingenuity.

While there are moments of significant note here, Glowing In The Dark as a whole doesn’t feel, or more importantly sound, like the album that will finally solidify the band in delivering what is their true potential.

New Fragility is an easy album to dismiss, especially when it’s such low-stakes (old band, low-key release), but it’s even easier to just enjoy it for what it is.

Sound Ancestors isn’t anything new from Madlib, but it only further cements his status as one of the great producers, artists, and minds in hip-hop

Who Am I? may be a sidestep on their journey to individuality — distancing themselves from comparisons to The 1975 by emulating Avril Lavigne isn’t exactly a foolproof plan — but for a band still early in their career, it’s another definite confirmation of their potential until they eventually carve out a niche of their own.

Like a well-oiled machine, the band’s constituent parts interlock with each other in punctual dexterity; supple musicianship that stands out more than ever on this robust sophomore affair.

Super Monster’s songs are each a self-contained story, but it’s unclear whether each song relates to a different person in Claud’s life or if they all revolve around the same person. Regardless, the unique identity in each one of the 13 tracks is what makes it such a terrific and arresting listen. Claud’s dreamlike quality of writing makes breakups sound nostalgic, unrequited love enchanting, and rejection a worthwhile pursuit.

The only issue for this record is that thereafter it meanders far too much and those lyrics that you loved at the beginning you begin resenting at the end as it almost becomes a caricature of itself. ... That doesn’t stop it being something great to chew on. Uppers is a great place to start and should rubber stamp TV Priest as one of, if not your favorite new act.

Gas Lit’s intent is so immediate, it communicates its significance regardless. Its statement is not just one you can hear or read about. More importantly, it’s one you can feel.

Whilst the album on a whole is routed in vulnerability – Williams the chanteuse, cathartically pouring whatever remains of herself into her most precious form of expression, “Just A Lover” signifies a shift; a marker of unfinished means, as the pieces she’s surrounded by begin to coagulate into an entirely new feeling.

A muscular yet nuanced sound that balances intricate arrangements and layers of subtle electronics and keyboard sheens with the sweaty dynamics of a guitars-drums-bass rock ‘n’ roll (this is very much a rhythm album) and you’ve a masterful record that sounds like a full flowering of a remarkable talent.

SHYGA! The Sunlight Mound is great fun if you don’t think about it too much. It uses some brilliant inspiration taken from '60s psych and prog rock and even some hints of '90s grunge. However, it’s difficult to not take notice of the sameness featured throughout the record that makes it that little bit duller than it could have potentially been.

For The First Time is ferocious and endlessly intelligent, highly considered and wildly improvised, eked out with bristling tension and set alight with a burning intensity and a knowing smile.

A Common Turn serves as an excellent commentary on modern life, with some intensely personal struggles that others might be wary of sharing, lined up and forensically examined.

Radiating self confidence and assuredness, Celeste bolsters her existing catalogue of soft, somber songs with moments of upbeat glitter-funk and rollicking neo soul.

Weezer’s greatest misses may come from their frontman’s visceral desperation to stay relevant, but it’s a relief to hear them take chances and risk failure in such a new way. The album might just be OK, but it’s been a long time since Weezer have dared to be this human.

Baio’s third and latest doesn’t drastically divert from type as such but presents his songwriting at its most concrete in pace, malleability and variety.

The versatility of Collapsed In Sunbeams is beyond comendable. Parks seemingly effortless lyricism and laidback melodies make her songs cosy in winter, and chilled in summer - always to be uplifting and comforting. Every track can mould around different settings and this level of versatility in a debut album is a rarity. Collapsed In Sunbeams is timeless.

Fans will be pleased to hear nothing has changed. Stepping inside The Hope List feels like setting foot on a wide open field, where clouds mar the sunlight, but a warmth still radiates all around. A gentle wind flurries, blowing all around while the horizon feels endless.

What it undoubtedly is however is a tentative sidestep, keeping one foot firmly in New York post-punk while allowing the other to wander towards sunnier, more refined pastures. An alternative route that, while not always trodden in style, Palberta have nevertheless proven they’re more than adept at taking.

What sets Kiwi Jr. apart from their peers though is their madcap view of the world and Cooler Returns establishes them as a band too confident to conform; a band who have all the skills to match their lyrical smarts.

If you like your music ordered and predictable, then Cheater probably isn’t for you. But if you’re the kind of person who embraces chaos and doesn’t care if the can of fizzy drink has been shaken up before you open it because the resulting sticky mess is just as sweet, then you’ll love this album.

On her debut, Sleepless Dreamer, the folk-soaked, pedal steel tinged sound felt like a familiar friend knocking on your door. With Magic Mirror, that friend has returned, with some stories to tell while ready to dazzle with a sparkle.