If IRL is not as consistent as her previous output, this new album still cements Mahalia as a major R&B/Soul fixture both nationally and abroad.

The album is best viewed as an extension of his physical artwork rather than musical endeavours: dark abstractions and brutally grim representations of mood rather than straightforward instancy.

Grief and hardship have changed Surfer Blood, there’s no denying that. But they deserve praise for making a record that still has its own joie de vivre and doesn’t completely overhaul the alphabet that has made the band a success in the first place.

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.

It’s concise, it’s even, and it feels structured. Its main issue is that it’s nothing that new or inventive and on that basis alone is what essentially damns their efforts. But despite that gripe, Vivian Girls have always surrounded their LPs with charm.

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.

A casual dance music fan may find the lack of variety in terms of tempo somewhat cumbersome, but if you look at this through the prism of Honey Dijon as a DJ it makes total sense.

What a solo album with all of his own bars over all of his own beats would have sounded like, we’ll never know; The Diary does more than enough to fire all of our imaginations, though.

Collectively, it’s certainly Moss’s strongest work to date - a thoughtful, mature album, which delivers plenty of food for thought and a range of sounds, emotions and lyrical quirks to keep most listeners happy.

The slight disappointment of Disc 39 is that Cole’s comfort in his recent life leaves less to be explored than you might hope. That said, there are certainly high-points throughout and the reflection of "Quik Stop" and "and the whole world is the Ville" illustrate Cole’s growth and position now as an elder statesman.

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.

“Kyoto” is one of the more effective here; stripped of the insistent indie-rock embellishments which made it a single, the rawness of Bridgers’ lyrics is exposed. ... Elsewhere, some versions are less illuminating. ... These songs are still some of the most charming and psychologically nuanced in indie rock’s recent memory.

The muted “Eat You Like A Pill” and FKA-Twigs-esque “Bad Habit” find their home in the warm comfort of swirling, breezy electronics and echoey vocal performances – offering a balanced, well-rounded edge to the record.

This is not a record for quick thrills, or for sombre introspection; it is an album that creates a rich, layered sonic space, in which it invites its audience to lose themselves awhile.

Lorde’s tasteful embrace of fluidity in expression and refusal to slide into any conclusive assumption is Virgin’s most compelling strength. Even if the music’s painfully minimalistic and uneventful, her voice is a hurricane with guttural words as its generous source of energy.

Wooden Head is a more than agreeable rethink of late sixties rock.

It’s disappointing that there’s a few dull moments on Bluebird as they really do stand out against the stronger tracks.

An album that often gets consumed into a pleasant fog.

Antony commands a stadium with his vocals and tone, or in this case the Barbican in London, while the fragile live air has not failed to be captured in the final product of Turning.

Absent any actors to push the narrative along, Here Come the Rattling Trees can drift by during its more passive instrumental passages, but never less than pleasantly so.

Like the best pop stars moving far from their imperial phase, she remains uneven but always fascinating.

Whether Crow is tucking into the midtempo rock bohemia of “You Can’t Change the Weather,” or getting lost in the groovy R&B psychedelia of “Love Life,” she demonstrates that she is a musical everywoman, able to move from knowing convention to wider experimentation.

The electronic elements probably won’t quite be to everybody’s tastes, but even then, the energy with which they’re delivered should be enough to make up for it.

Welchez and Roswell have proven their creative resilience with Dreamless, an album that illuminates the painful moments that plague all of us, while also providing hope that creativity can keep the shadows at bay even in the darkest night.

This is a solo debut that’s been made with love, care, and plenty of ability, and although it has a tendency to veer too far into bleaker territory at times, there’s no denying its subtle magnetism. Nili Hadida’s found herself a new groove, and it makes a quiet yet engaging impression.

Mr. Dynamite's expansive instrumental interludes sometimes disrupt the pacing and punch of the record, defying coherence, but this never seems like anything less than deliberate mischief. It’s merely a performance of the group’s own self-discovery, proudly extending and flexing their new cyborg limbs.

Working Out is a sophisticated sounding record, but with only a handful of standout tracks, it may not be enough.

Blake’s a master at making heartbreak sound beautiful. Now, on Friends That Break Your Heart, he makes it sound like something in service of the best version of yourself.