A modern classic, from a band who’ve made a career off the back of modern classics.

It is an overall cohesive and grand statement of an album which opens with familiar sounds, and explores jutting, pointed off-shoots, before crescendoing with “Thick Skull”’s cataclysmic pop, all the while holding a relative level of self-involvement and privilege.

Ultimately, the only possible problem with Heart Like A Levee is that some of the cuts fade out too soon.

This is a near-faultless EP, and one that’s so incredibly moreish.

While Finding Shore certainly isn’t the most accessible of albums, it’s one that’s likely to stay with its listeners long after the dull rumble of its closing moments have faded in to nothing.

Reflection is a product for everyone; not just the music lover. Yes, the music alone can be easily appreciated for its virtuosity; however, the whole package assists people with their day-to-day lives and provokes mindfulness and interaction with the wider world.

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.

A. A. Williams has allowed her listeners to exorcise difficult emotions on this record. She provides an aural tonic through her idiosyncratic, beautifully executed sounds.

No matter how disorganised Olivia Dean proclaims this album to be, she doesn’t miss a beat – and instead generates a record with just about everything to deem itself ‘perfect’.

She has a unique capacity to include all the world’s issues in the album just by slipping in an occasional nugget of truth that punches the listener in the gut.

KID A MNESIA (including Kid A and Amnesiac in full, alongside a disc of rarities and off-cuts, which includes many pleasant discoveries, such as an uncomplicatedly majestic alternative version of “Like Spinning Plates”) suggests that Radiohead got there first, most boldly (in the context of the music that had built their ‘brand’), and arguably with the most significant creative gain.

Go to School is an artistic statement on a grand scale, and it cements their reputation as world-class songwriters. It’s a once-in-a-generation epic.

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.

It is a vital addition to an impressive catalogue from a group who deserve your attention.

In its bone-chilling, earnest spirit, we witness Swans maintaining a power they never lost – we see them exceeding expectations, branding themselves as a seismic force in experimental rock, and here, they continue to touch on that greatness.

She explores themes that have been relevant at least since the advent of the Cognitive Revolution 30,000-plus years ago – creation, destruction, ecstasy, transcendence – yet does so in her own contemporary, refreshing, and utterly commanding way.

Throughout Hopelessness, Anohni reveals multiple layers to the stories within her songs, and that the deeper you dig beyond the headlines and easily digestible sound bites, the more pain and deception you are likely to find.

Masculin Féminin offers a fascinating trip down memory lane for a band which has quietly--or rather more loudly, in the case of these songs from 1994 and 1995--made their mark on modern music.

CMAT succeeds in making each track individually compelling, while simultaneously excelling in exploring her more abstract side. Crazymad, For Me shows CMAT to be in a world of her own, one that’s way ahead of the pack.

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.

Resonating like a joyful shout in the distance, Four of Arrows draws you towards it, and you’d be a fool not to follow.

If you want to find a remaster that’s worth your time and money, then Suede is the gem to look into at this very moment.

Ellis-Bextor's decorated back catalog has always split a complementary difference between a good groove and inventive intrigue. Even when she turns the dial ever so slightly in one direction, Perimenopop is no exception. Turn it up and enjoy.

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.

There Will Be No Intermission is a work of art. It’s as political a record as it is personal.

Through this combination of the ethereal and the eccentric, Halo has curated a mix that twists neatly around her musical influences whilst lending an intimate sense of her own direction as a producer and DJ. It is a seamless collection rooted firmly in the contemporary which hints at a musician in complete artistic control.

Stumpwork is an essential album, and one of the very best of 2022.

HEALTH have diligently crafted an astounding pop record...one which could be enjoyed for the next six years, if necessary.