“Free In The Knowledge” is a truly heavenly ballad in the mold of “True Love Waits” or even “Fake Plastic Trees”, with a call of togetherness (‘’but if we’re together/well then, who knows?’’) that offers an unexpectedly moving breather from the angst in abundance elsewhere, as well as proving that Yorke can out-emote the legions of lesser songwriters watering down the formative Radiohead formula when it comes to warily optimistic heartache-meets-hope.

It's easy to get sucked into darkness and despair, Heart Under proves that so, but thankfully, Ball's voice oversees that listeners only merely toe into these bottomless, murky waters.

Big Time is really a remarkable and intimate display of growth on the part of the woman who made it, thread-bare and unashamed, competing with the new Kendrick Lamar album for new heights of self-flagellation, and glorious self affirmation; made all the more intense of course by that voice of Olsen’s, masculine and feminine at the same time, and frankly criminal wield with material this naked and bare.

On You can’t kill me, 070 Shake’s pursuit of new musical frontiers is as intense as ever and even though some parts of this project let down the rest, it is overall a thrilling experience that signals growth from an artist who has a lot more to give.

Love-burnt and ambitious, Drake has produced something better than its predecessors, but without the fallback of crowd-pleasers, it is hard to see it standing the test of time.

The addition of older tracks onto Home can constrain Spektor’s artistic growth more generally, like on “SugarMan” – which stretches food metaphors to their absolute limit and lacks the staying power of Spektor’s best tracks. However, at their best, the songs of Home feel akin to a warm hug on a cold day.

Household Name re-establishes the pair’s vitality to this extent, avoiding a potential slump in extending the countercultural charge that cemented the appeal of their previous LP's.

Without losing the sense of comfortable familiarity, and the nostalgia that comes along with it, Alexisonfire have signposted a new era for themselves as a band – and in doing so have let us know that they’re ready to roll with the times and the fast-evolving post-hardcore scene as it is right now.

Drill Music in Zion is strong but weighed down by its heavy message and repetitive structure, ultimately highlighted by lengthy runtimes.

Jurado has remained steadfastly allergic to any stereotypical singer-songwriter navel-gazing from day one, and perhaps it’s this aversion to familiar templates that both keeps the masses at an arm’s length and makes albums like Reggae Film Star so richly rewarding for those in the know.

It’s a staggeringly powerful, and admirably honest, piece of songwriting – one that leaves listeners wrestling with an indescribable sense of hollowness in its wake.

An electrifying and utterly unexpected treat, it’s packed with the kind of nourishing and warm music we would do well to turn to for sustenance and uplift when times get tough.

Arkhon is filled to the brim with so many eclectic ideas that, with a different writer or vocalist, could end up too cluttered. Album opener “Lost” and the closer “Do That Anymore” are so wildly different, but instead of being confusing, you’re thankful to Danilova for somehow piecing the two together.

From its overall sound down to its finer details, Gavin, Maskin and McPherson have hit the mark completely. It’s amazing to see a band that are so unapologetically queer excel at their craft and create an album that is quite possibly, if not certainly, their masterpiece.

A handful of the album’s later tracks, including “Sleep Paralysis” and the restless “Choose Your Fighter”, do perhaps fall short of other songs’ ‘absolute banger’ status, but nowhere is there an outright miss.

Ultimately In Amber demonstrates an unexpected mastery of dance floor inflected, gothic-folk tinged, post punk, driven by raw feeling and humanity. With topics as grave, the fact these songs only occasionally teeter on the hazardous borderline where meaning meets portentention is a mark of the sheer skill of those involved.

Ugly Season confirms Hadreas’s commitment to discovery and resistance to reiteration.

While the big-tent ambitions of Farm To Table make for some of Strange’s most exciting fare, they also narrow his range sightly, making the record feel in some ways more creatively restrained than his debut.

Foals manage to delight with invigorating innovation while simultaneously keeping their unique identity deeply engrained in a style that is as fresh as it is warm.

There’s no doubt that the wait for O’Brien’s debut has been worth it. She’s an artist who has a vision, and has not only executed it but found a new way of kickstarting the heart of a genre that quickly became a dead horse to be flogged whilst commanding a new space of her own.

Overall, this is a great project bursting with genre-bending sounds and heart-wrenching lyrics that perfectly capture the times.

Ultimately, however, the highs triumph over the occasional coasting, even if it's hard to entirely shake off the feeling that there's a killer 12 or 14 track record to top off Wilco's return to studio form on 2019's Ode to Joy lurking amongst this bumper crop of Jeff Tweedy’s songs and Wilco’s telepathic dynamics.

While McRae’s previous outings may have been more complexly assembled, her new songs are more immediately accessible. Stylistically and in terms of production, many of the tracks on I Used to Think I Could Fly are markedly unconvoluted and easily recallable.

Whilst he floods creativity into the engine of his tracks to generate a powerful sound basis, it becomes apparent that sometimes Alfie needs to be refuelled in the lyric department. ... Mellow Moon acts as Alfie Templeman’s experimental wonderland that shows there is nothing that will halt his creative output.

Through a dizzying blend of experimentation, innovation and stylistic idiosyncrasy Everything Everything have created another peerless record with Raw Data Feel, one which proves once more that the horizons the band chases are theirs and theirs alone.

MORE D4TA or MODERAT 4 is the sound of a group creatively recharged and at the height of their power. To this end, in almost every conceivable way, it's the Moderat album that fans have waited six years for.

EYEYE feels like a piece of magician’s silk that just keeps going and going, but it’s still the same piece of silk. Unlike Wounded Rhymes, this is not an album to put on at a party, but if you’re going through any kind of heartbreak, plug yourself into this immersive and impressive album and let it all out.

Whilst some tracks are arguably a bit forgettable, this album is still full of some brilliant moments.

Complete with dreamy guitar bends, gorgeous harmonies, and a candid lyricism that Phoebe Bridgers would be proud of, If I Never Know You Like This Again has undoubtedly delivered a hat-trick for the Derry-born artist.

There's a substance and cohesion across Preacher's Daughter that's lacking on most debuts – and yet there's clearly so much more to come from this incredible artist and the rich world she's created.

Waterslide, Diving Board, Ladder To The Sky is a brilliantly crafted album. Stylistically, all 12 tracks feel brilliantly stitched together, and the album as a whole is a complete standout for Porridge Radio as a band.

Harry’s House is a good album because it doesn’t care if you think so. It's not trying to appease the male critics chained to the altar of classic rock, and it isn’t showering you in glitter and hauling you onto the dance floor (even though you are still cordially invited).

It being one so vulnerable and exposing (including using his family for the artwork), stripping the skin down to the bone, is bold, beautiful, but most importantly, a reminder that an artist like Kendrick Lamar is once in a generation.

Again, this is no ordinary breakup record; it's a turbulent reflection full of complexity pointing toward hope – that farewells don't have to end in goodbye but could evolve into something deeper and more meaningful.

A Bit of Previous fails to standout. Whilst carrying the same overall feel of If You’re Feeling Sinister and The Boy With the Arab Strap, it lacks the depth and storytelling brilliance that originally made this band so exciting.

This is one of those rare records that starts off strong and keeps getting better, more deep and resonant, with each track.

It boasts some of her strongest singles ever, and, coming at the end of a four year break and a two year pandemic, it’s not the theatrical Welch who shows up here; this is a woman and a songwriter, no forest-sprite.

On the album, the dark, haunting sound and intimate atmosphere of her early work and the muscular '80s inspired synth-pop of Remind Me Tomorrow sit side by side.

Each of their songs still contain enough depth of cultural heritage to fill several essays. Persisting too are those harmonies: one of the most distinctive sounds in music today, muscular and powerful when necessary, graceful and hushed otherwise.

Comparing Happiness Not Included to their previous material is futile and mildly ridiculous, that push-pull of pop success, art-school background, and the resulting imposter syndrome which comes when all they wanted to be was a Throbbing Gristle you could dance to is a demon they’ve spent decades trying to escape from, whilst also courting, that unease creating the tension which is evident in all their output, including here.

Erupting out of the soil quicker than daffodils in spring, Sigrid’s growth is nothing short of remarkable on How To Let Go.

With cinematic soundscapes of art-rock in tow, Headful of Sugar is a heavenly ride that actively embraces a full spectrum of feeling; from self-destructive tendencies to the saccharine thrills of youth.

Radiate Like This is a characteristically joined-up effort from the close-knit group, underscoring the strength of their musical bond – its only hindrance being the occasional pang of déjà vu.

An ouroboros-like reawakening that finds them at their acerbic and celebratory best.

I don’t know who needs to hear this… finds Tomberlin firmly stood in the language of her own making. She redefines song structure, alluding to the intrinsically mirrored fashion in which life pans out; like life, far beyond the close, these songs continue to spin.

LP.8 is certainly roomier than Owens’ previous work. More directed at dedicated dance-heads, more suited to the durgy decrepitude of basement dancefloors, and more abstract in its approach. But LP.8 provides further evidence that Kelly Lee Owens operates in a field entirely of her own.

Toeing the line between infectious and abrasive, it's this swinging energy under which Lady For Sale thrives. Indeed, this isn’t an album created to lay low, it begs for attention, and once you’re in its sights, it’s impossible not to do so.

Scalping’s world-creation on Void is engaging and welcoming while being both ecstatic and unnerving. What gives this record cohesion is its ability to freely blend sounds and be bold while maintaining its heart as a rhythmic electronic record that’s audibly bursting to be let loose on a live audience.

Forgiveness is a confrontational, undiluted journey of self-acceptance and adulthood through cathartic electro-pop infusions and delicate introspections – Girlpool’s new era has succeeded them well.

Profound Mysteries doesn’t quite have the timelessness of Melody AM, but it certainly lives up to Röyksopp’s reputation as a duo that has perfected the art of dishing out electronic hugs.

The production on the album is very lowkey, allowing for Kehlani’s extraordinary vocals and vivid lyricism to take centre stage.

A few of the less memorable cuts drift by without making much of an impact: adventurous arrangements in search of a substantial centre that would allow for a real connection to be made. That said, the blissfully floating, richly melodic closing suite “Alma_The Voyage” makes up for the occasional idling.

The divide between Hollingworth and Walton has never been clearer in Two Ribbons, nor the subject matter more intimate.

The Price of Life’s relentless delivery of its agenda is a tiring but invigorating shot in the arm. Will time show this to be their best album? Maybe not, is this an album by an act quickly becoming one of the most important acts in the UK whose message demands to be heard? Absolutely.

It may be less vital and refined than Daytona, but It’s Almost Dry feels far more expansive and is arguably more instantly enjoyable than its predecessor.

for you who are the wronged is a beautiful, at times overwhelming, journey through a cruel world that robs and violates us all of something. It doesn’t passively sit by and let the worst happen though – it comes bearing offers of strength, hope, and companionship to those in need.

Everything Was Beautiful shows Spiritualized accessing yet another artistic plateau, forging an exemplary hybridization of unshakeable songs and sublimely assembled music.

Giving The World Away spins the all too familiar tales of coming-of-age gradually and overcoming obstacles, and it does so with assertiveness. It’s an album unafraid to break new ground, but not without holding onto Hatchie’s familiar musical personality.

Skinty Fia is a rich, full-bodied third entry, with Fontaines DC proving they’re not only here to stay, but here to dominate.

Whilst at times DISCO::4 Part II might feel morbid, its urgent, vital sounds provide a much needed antidote to the anxieties of the world we currently live in. It’s also further proof that HEALTH’s talent and appetite for collaboration is as potent as ever.

Ricocheting through the wandering quips and rustic palette of Watch My Moves, Vile resists any temptation to curtail his free-roaming private wilderness, doubling down on the ambling strand of songwriting sure to sate seasoned listeners.

For an album which so clearly sells itself as a capital C concept Album, the narrative is indecipherable; each track dropping a handful of new character names, and the final song seems to give up on it completely. Tillman is a fantastic songwriter, and so some of the new material is gold regardless.

It’s the careful balance of lyrical self-awareness and indifference amidst post-punk guitar that keeps you on your toes.

Not quite pop perfection, but it has its moments.

The Regrettes already seem pretty at home in their new soundscape, roaming between stripped-back guitars and fully-fledged pop.

It’s a tried and tested sound but Peck’s perspective feels utterly fresh, and suggests perhaps all of the glitz and camp are actually just Peck being true to himself.

At times, it can feel slightly rushed - with the band seeming understandably eager to quickly follow-up on early hype. ... At it’s best, however, Growing Up is a fantastically multi-dimensional record that presents a shining showcase of four preternaturally talented stars.

An album that often gets consumed into a pleasant fog.

With strong songwriting and stronger melodies throughout, this album is likely a one-off (minor) disappointment, and PUP will equally likely bounce back from it.

Across the record it’s clear that Pillow Queens have truly hit their stride as a band. Leave The Light On strikes the balance between the excitement of an early career and the deliberate precision of seasoned musicians.

Never Let Me Go feels like an astute observation of our current post-pandemic social climate, as if the current global narrative has finally caught up to that of Placebo's internal monologue. And though the realities of that are pretty bloody bleak, at least we've got an excellent album out of it.

A record that belies its debut status, Unlearning bares the strength and complexity of a later career offering, with Walt Disco deftly updating their precursors’ flair from a twenty-first century vantage point, championing the illustrious Scottish post-punk tradition in the process.

A collection that future-proofs Kavinsky’s curation of high-end production, addictive earworms and cinematic scope.

The band demonstrate the excitement bubbling beneath the surface of the UK rock scene, ready to pierce through its thin veil at any moment – Reeling is that moment for The Mysterines, and it’s a debut you won’t forget in a hurry.

McDonald, Thompson, and Hellmrich seem more artistically and energetically in sync than ever, reveling in their opportunities and impressive talents.

Never before has one of her albums been so vulnerable and reserved. ... This album drips with drama, humor, and naturalness, making Warm Chris a sincere take on life.

Real victory comes from delivering something cohesively independent such as MELT MY EYEZ. And as promised we do indeed see the future.

Present Tense stands as another stage in Yumi Zouma’s development in this sense, lapsing at times into dream-wrapped comfort zone while throwing enough curveballs to differentiate from preceding outings.

Sea Girls are taking the torch from guitar-pop pioneers, and telling stories with just as much strength.

Showing off the intricacy – the moodiness and magic – the band are so excellent at creating, and building to the heights promised on earlier tracks, it’s the perfect note to end on. It doesn’t feel quite final, but it feels like an appropriate moment to pause.

Despite these few missteps and pacing issues, ADULT. prove that they can effectively balance their usual techno and synth punk sound with more experimental and spacious beats that progress rather patiently.

Mixing witty lines with insightful meditations on life as a black man, Radical proves himself to be a master of his craft, effortlessly providing both incredible lyrical content and flawless instrumentation from start to finish.

Motomami is the sound of an incredible voice indulging in her pop fantasy and excelling at it, but she makes sure to remind us as often as she can that really, she can do it all.

Anakin often brings an urgency with his flow, each bar breaking with his voice, snapping like a bonfire night firework. It's an effortless relentlessness, ensuring you watch but keeps you cautious enough through fear of getting burned. Those personal touches are truly where Frank shines.

Crash is nothing short of a victory lap. Every bit as effervescent as its pandemic-induced predecessor, how i’m feeling now. ... This is connected and organic; a celebration of hope, love and spontaneity as both her catalogue and the world at large inch closer to some semblance of their old ways.

The Districts have evolved into something bigger and brighter with their fifth release. Turns out Great American Painting is pretty great.

Their ability to collaborate with the likes of Barker, Slipknot’s Corey Taylor, rappers Bun B, Saul Williams & Jasiah, whilst remaining authentically Ho99o9, is what makes SKIN such an exhilarating listen.

A record that uses choral, electronic and orchestral features to embellish Stromae’s creativity, Multitude is crafted to be enjoyed again and again.

Don’t expect this LP to reinvent O'Connor’s established ‘wheel’, but it certainly shows signs of a formula being gradually improved and perfected.

This album has it all, and listeners who crave forward-thinking, statement-making pop will find homes with “Gay Agenda”, “Cisgender”, and “Abomination”, while those less involved can relax with the jams of “Cold Brew", “Nuclear”, and “Stability”.

At their height, the tracks on Oxy Music are some of Cameron’s best, and his songwriting is often defter and more thoughtful than ever.

MICHELLE will always be a pop group, but the tension in this slate of songs gives a different air to the other flowery elements in the production. It’s a product of six people developing individually and collectively.

Despite each track standing incredibly strong on its own, it sometimes feels as though Ashworth is taking on more than the album can handle. A more decisive sound and Squeeze could be one of the best albums of the year, however, Ashworth’s indecision pulls the listener from one emotion to the next without ample time for digestion.

As opposed to the rich, twisted dreamscape of Ignorance, Stars is a record of dense and oblique beauty.

Nobody’s Home struggles to grasp the organic feel of Badkid throughout its run time, but tracks like “Youthenasia”, “Riot”, and “Alone Again” make whatever heights are out there for him an eventuality.

Things Are Great is certainly a return to their best form, and it shows signs of the band entering a new golden era with the next one. Just hope it’s not another six years in the making.

Crunchy, ethereal, and odd in its harsh beauty, PAINLESS is a record of contradictions that Yanya spectacularly weaves together. Allowing us to see more of Nilüfer Yanya – as a person, as a musician, as a lyricist – each part is as intriguing and rewarding to dive into as the last.

Donda 2 is a complex of lacklustre ambling beats twinned with sluggish energy, only occasionally piquing (“We Did It”, “Too Easy”, "Pablo"). In fact, rarely does Ye find any stride. [review is for V2.22.22 Miami version]