She is flourishing and basking in the creative control, which shines through both her songs and the visuals that accompany them.

Three Mile Ditch is raw and absorbing, and it deserves our full attention.

Lacking in the upbeat indie of his debut Dear, or the powerful emotional outbursts clustered in Birthdays, Monument is a heavy, but truly worthwhile, listen.

This is a tight, focused, powerful effort by one of the most underrated bands in the world – and certainly one of the finest bands to come from these shores in the past twenty years. Night Network is a minor masterpiece.

This slight quirkiness is part of the appeal of hey u x, along with the 19-year old’s ability to blend relatable and intimate content. Personal themes of loneliness and loss twist their way like a fibre into the very heart of the album.

This universal notion of affecting societal change, whatever your age, is the lifeblood of Book Of Curses and it’s deeply refreshing to hear an older generation of punks who are as committed as the current one to creating a better world for all of us, even if it’s only in a small way.

A record rich in sentiments of togetherness and compassion, it’s one that will make you want to throw your arms around those you love and tell them everything will be alright.

If you're looking for choice picks that suit your current standing (single / taken / stuck in lockdown lusting) then you'll find what you need - a relatable nature is served up on a silver platter - but a greater understanding of anything other than the above shall not be found.

On Some Kind Of Peace, Arnalds has once again crafted an genre-defining album that serves as a much needed moment of reflection.

Ghostemane’s ANTI-ICON is a feverish collection of voices pitted against a genre-blending backdrop of visceral noise. Taking heavy music to a whole new level is something only an anti-icon could do, and Ghostemane’s firecracker of a new record achieves just that.

Although it’s not as vital as his early work, it’s a fun and confident return from one of the kings of grime. Long may he reign.

After The Great Storm is an emphatic record, conjuring up moments of hope and reassurance for difficult times, but also unafraid to reveal flashes of vulnerability and insecurity, all conveyed through an unfiltered and organic new style for Brun.

Bring Me The Horizon is a band that you can rely on for a constantly evolving output and whilst, POST HUMAN: SURVIVAL HORROR doesn’t exactly diverge away from what the band were developing on last year’s amo, it does capture the bewildering phenomenon that is living through a worldwide pandemic. It is as fun as it is bleak.

If you're a fan of Frusciante's work in the California funk outfit, then there's not much here you'll enjoy, but if you are into electronic, drum and bass then you'll be right at home.

The Great Dismal, thankfully, is everything it promised to be – it sounds huge, and it sounds miserable.

It emits a level of depth that leaves you sometimes not really able to pinpoint what’s what, and other times feeling yourself being drawn in.

While thank u, next is probably her best work – and it will probably remain that way forever – Positions is Grande’s most carefree, most playful, most mature work to date.

Whilst Love Goes could have been an album containing only Smith’s newer dance sound, the album does offer something for all Sam Smith fans, to mixed results.

For listeners who have a penchant for darker, glossier rock in the vein of Portishead, Jane Weaver or even Radiohead, this is an essential listen. For everyone else, it might prove to be an acquired taste, but one that lingers long after the dessert has been served.

Visions of Bodies Being Burned, like its predecessor, is macabre and monstrous in all of the ways that your leering curiousity would have it. It’s a taut exploration of hatred and hostility, one which stands shoulder-to-shoulder with its demonic older brother.

It sits balances between a '70s and '80s sound, yet is somehow incredibly modern in tone. This is something IDKHOW do remarkably well.

Somewhere in the combination of the album’s dramatic, heavy riffs and revealing lyrics, there’s a depth to the artistry that depicts both the political criticisms that sit at its crux, as well as the band’s trademark alt-rock sound.

Producer Josh Kaufman - New York-based musician, Hold Steady collaborator and member of Bonny Light Horseman and Muzz - has elevated the album, finding the perfect mix of chaotic and smooth.

Its maximalist aesthetics and musical creativity combine to make something intensely addictive and satisfying, but it’s still inherently hard to put your finger on what exactly it is.

Instrumentals is an album which is both easy to understate and overstate. ... By ingeniously pairing this music with the straightforward Songs, Lenker paints them as two pieces of a whole, two completely different recordings of the same state of mind.

The eclecticism yields some misses along, like the paper-thin reggae of “Cliff Hanger”, and the Bronson’s one mode just about outstays it’s welcome by the album’s final moments, but he remains colourful, deeply entertaining and stubbornly unchanging.

Mama’s Boy proves that standing still isn’t an option as LANY honour their humble beginnings as their most authentic selves. It may not be the iridescent sunset we’re used to, but LANY are home.

On their debut, Delmer Darion present an album that can be enjoyed studiously through exploring its depth and archival references, but more importantly they have simply created 44 minutes of music that sounds like it is from a new world as beautiful as it is strange.