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

It’s a treat to hear all these iconic and sometimes underrated themes again, even going so far as to cover Ennio Morricone’s ominous theme for The Thing and Jack Nitzsche’s grand, celestial Starman theme.

With Phantom Brickworks Bibio has not only created a record that stands apart from his other Warp albums to date, but has cemented his mastery of the atmospheric; creating an album that can imprint on a listeners’ surroundings like few others.

Punk will likely not be remembered as a great Young Thug album, but we should appreciate that we get to hear him tinker with his sound for when he finally puts it all together again.

Shows Hus display his greatest quality - his music. Straightening his ‘darling of UK rap’ crown, it is an album that experiments with a variety of sounds and sonic styles, in a more dynamic way than previous offerings.

There’s an aching pain that throbs throughout Hendra. But as the personal suffering that shapes the album is lamented, there is a clear cathartic quality to these songs.

Clean showcases what it is to be stuck in a quicksand of self-loathing, and have it stop you from seeing your own accomplishments and more importantly, being proud of them. If Allison isn’t already chuffed with this debut, she should be.

Call the Comet finds Marr in his element, making articulate, direct rock ‘n’ roll with an ultimately optimistic sense of purpose.

The LP offers one of the most compelling and honest explorations of addiction in recent musical memory - it’s filled with grizzly, visceral declarations that underscore the stakes at hand.

The album is a heavy 17 tracks that last over 70 minutes, meaning it’s a long and intense listen, but deliberately so--loneliness is a long and intense feeling.

Tomb is a record of heartbreak that never wallows, a reflection on loss that does not allow itself to become stuck in the past, and resolutely optimistic at its core. What we find here, on what is arguably the pinnacle of his output to date, is De Augustine achieving the beautiful balance between introspection and grandeur; straddling the place where pain and hope intersect.

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feel of If You’re Feeling Sinister and The Boy With the Arab Strap, it lacks the depth and storytelling brilliance that originally made this band so exciting.

Aside from being a near-perfect collection of belting pop, Sucker Punch also carries a message of triumphant grace: if you can try to be your own best friend and love yourself a little more, wonderful things will happen.

Combining the spirit of Britpop with the attitude of modern day post punk, tracks like “Going Soft” , “Here It Comes Again” and the familiar cries of “Camel Crew” and “Kutcher”, swell, expand and know just when to pull the pin into an eruption of chaos.

The final 2 minutes of the [last] track feature a stream of guitar-generated distortion dotted with melodic hints that quickly rise and pass. It’s a glorious coda to an impressive return, a reemergence that shows the band at their most versatile, free to be themselves.

There’s rarely a moment over the past 25 years where Dean Wareham’s failed to deliver an album that’s at least three-quarters brilliant, and Emancipated Hearts doesn’t change that record.

The sound of the album is too monochrome in general, with ballads and epics all drawing from a similar palette. That being said, there are stunning moments too.

Night Life is a dark synth album from a band turning away from the big expansive sounds of the past to explore both the desolation and pleasures when light turns to dark, and their best album since Skying.

The Seduction Of Kansas is an intelligent and essential record the establishes Priests as masters of their craft, and truly marks them out as one of the most capable punk bands around.

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.

Omnion isn't hugely different from the Hercules albums that came before it, but that's not really the appeal of the group: their records have always been episodic because of their guest vocalists, and Omnion feels like checking in with a group of friends, the focus shifting with each new song.

This album is pretty good – the beats are nice, the rapping is decently energetic and forceful. But in the context of Peggy’s discography, where he’s invariably flowed like all hell over the most original production in recent hip-hop memory, this falls a little flat. I Lay Down My Life For You is good – but it isn’t quite good enough.

With Tearing at the Seams, Nathaniel Rateliff & The Night Sweats have distillated the ups and downs life throws at you into a vibrant collection of many-hued vignettes; some make you smile, some make you well up, and some make for the ideal accompaniment to good ol’ sauced-up revelry. Whatever the case, they’ll all make you feel that thing inside you. Soul.

While its tunes are a little weaker than that of her previous albums, she emulates the “poetry without the words” she mentions on “Sacred”, snapshotting around a subject in order to construct a clear picture. But sometimes the resulting image is a little hazy.

Something We All Got is the third album from the Toronto group and the recipe of buzzing, breathless quite often vulnerable sound has been matured and given new life.

Fanfare deserves a round of applause for taking a fearsomely retro concept (album as a mega-budget, widescreen statement) and, rather than sinking waist-deep into pointless pastiche or a rehash of vintage mistakes, ending up with a piece of work that would have been remarkable had it been released during the era it emulates, and which sounds remarkably ‘now’ today.

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

Beatopia highlights an artist who has matured quickly, honing her initial work while impressively expanding her aesthetic scope.