The album is heart-warmingly straightforward and honest in its lyricism with no attempt at being unnecessarily complex for the sake of it; smartly made with a finite tale to tell.

While Suddenly’s highlight tracks buzz with upbeat glamour, Snaith is smart enough to tone a portion of the LP with their contrasts. Although short-lived, this is what made Swim so memorable.

Although The Main Thing isn’t perfect, it serves as their version of it as we see Real Estate continuing to be both consistent and reliable as ever.

You might miss the electric-burn intensity of the lead guitars from In a Poem Unlimited, or you might miss the Iggy’s The Idiot-meets-Marc Bolan-and-Madonna-on-a-Tarantino-soundtrack vibes, but ultimately, there’s just as much to enjoy here. Heavy Light is more subdued, more restrained, and certainly more beautiful than its big sister.

Disco Volador feels like a journey into a world undiscovered, without ever feeling too alien.

This is a record written in a time of blues, yellows, and greys, but the overarching feeling is that of purification. Color Theory is an album both of pure catharsis, and proof of musical prowess.

Her stories are made believable by the authenticity of Bentham’s real-life everyday nothings that season each song and open our minds and hearts to the most primal feelings we encounter and the most insignificant events that take place in our lives.

Allie X's debut, 2017's CollXtion II, was a fun, if simplistic outing, but Cape God is an album undeniably made by a woman truly forging her own path however she sees fit. Not to mention championing the wickedly bright future of avant-garde, ascendant music.

It is an impressive, exciting and moving album with slick production, accompanied by thought-provoking art (the interpretative dance performance in the “Black Swan” video, the CONNECT BTS art exhibitions), but it is so much more than a shiny pop album. It is a love letter to pain, to the shadows that live within us.

Miss_Anthrop0cene is great. And much of what makes it great are the unavoidable, personal obsessions that Boucher has always carried with her: science fiction, nerd culture, Eastern scales, loop-pedal musicality, and an uncool love for the kind of bass you'd expect to be blasting out at Burning Man.

A celebration and a middle finger as Banoffee reclaims her strength across tracks driven by wonky pop sensibilities and a drop of infectious playfulness.

On 2017 – 2019 he again shows us why he is one of the most vital electronic acts of the 21st century.

The results are musically elegant, emotionally eloquent, and absolutely vital.

There is certainly less filler here than on previous albums, but there are still points which feel a little dull or repetitious.

Rateliff’s faced those feelings head-on and come out the other side with a meaningful album full of subtle beauty, and one that’s buoyed by the prevailing feeling of hope; hope that things will still be alright.

This album is not a timeless classic, it is a du jour album that showcases a drummer and producer’s talent at capturing the sound of the times. It should be enjoyed as such: a testament to young musicians blending tradition and modernity in exciting new ways.

Denzel and Kenny have proven that they’re able to consistently put out E.P.s, singles and albums that are exciting in a way no other artists could be.

The album is an unguarded, autobiographical account of Visser’s most precious and challenging moments. The music doesn’t just shine, it reveals the individual struggle of “growing up, moving on, and everything that happens in between,” says Visser.

While lacking the convention-breaching identity of Currents, Tame Impala commits to a formula that will undoubtedly guarantee heavy rotation – an album sporting plenty of standouts and very little filler.

It's clear what they've wanted to do, and in some aspects have nailed it head-on, but to execute this properly, there needs to be more focus on wrapping that pure-as-fuck punk heart that beats in their chests in something more than a cartoon unicorn.

At times strained, others contemplative, though always whimsical, theirs is a carefully constructed character, one that refuses to take itself too seriously though never dares become anything close to disinterested. And for that, and indeed much else, they should be highly commended.

Unfortunately, there are too many missteps for this to feel like any kind of progress on their debut, even if the sentiment behind the tracks remain essential. Sløtface clearly still have much to say; they just need to work out a way of rediscovering their voice.

On her third, La Roux shows that she can write a melody like few others in the business today, but it’s hard to look past how similar each song really is.

Committed to a style and substance that simultaneously looks to the past and future, the five-piece soundtrack their role as esoteric prophets of doom with a sonic credo that proves genuinely idiosyncratic in the current climate – sharp, wit-filled and uninhibited stuff.

While you could write off this album for not attempting to push any musical boundaries, there's an authenticity to their relatable lyricism that gives reason to their polarising popularity.

With clever twists of post-production, Makaya chops and resamples not only his own band but also choice words and phrases of each stanza, making the poetry a percussive element and drawing out emphasis. A decade after his death, Gil Scot-Heron’s final oeuvre has finally settled into something great.

On Workaround, Beatrice Dillon leaves us to ponder how she’ll continue to transform the idea of techno and club culture.

A celebration of lightness, of fun, and of growing, learning, healing, High Road confidently and comfortably reconciles the different sides of Kesha which previously felt separate.