Their love for their art is evident. When their voices come together, it is pure magic.

Everything may remind you of something you’ve heard before, but Gallagher remains a singer who can deliver utopian exhortations and sneering put-downs with equal conviction, even in the same song.

A sparse, mid-tempo acoustic account of lost love, almost the definition of a sensitive singer-songwriter album. Yet it is so focused in intent and precise in performance, it seems to mark an advance rather than a retreat, the mature arrival at the realisation that sometimes less really is more.

A straight-ahead album of gorgeous, elaborate, amusing and affecting songs.

Entering Heaven Alive may not be his most ground-breaking album and won’t entirely satisfy those who come for the great White guitar wail. But this master musician really sounds like he’s enjoying himself with results that are pretty heavenly.

With This Could Be Texas, Leeds-based quartet English Teacher have crafted a record really quite striking in its lyrical and sonic ambition.

It’s a brave band that unleashes such an extensive body of work. It’s lucky, then, that it’s all so eminently listenable.

There’s nothing very new about the sound, but there’s a freshness and intelligence in the Lawrence brothers’ discovery of it.

The songs are anthemic, surprisingly upbeat calls to arms which suggest that Templeman is one to watch.

In the past decade, it seems Jones has made a sneaky transition from dinner party backdrop to David Lynch soundtrack.

If Twice As Tall is Burna’s bid for global superstardom, then the music is polished to befit his aims.

Their fourth album is their best yet: bright, poppy and exciting.

The whole album is a lot of fun. .... Britpop may ultimately be too old-fashioned to put the 51-year-old Williams back on the pop throne, but if it had come out in 1995, it might be counted as a vintage Britpop classic by now.

You’re So Impatient rattles along like a lost mid-’60s garage-psychedelia nugget, but with a simmering fury that lurks unresolved. The near title track, Jane (The Night the Zombies Came) gives baroque chamber-pop a surreal cinematic twist, with its Morricone twang and offbeat “Jane!” chorus shouts.

It’s a cracking album, whose influences are delightfully esoteric.

With soulful vocals, delicate stories and vulnerable lyrics, Moss makes for a delightful listen.

This third comeback album unearths some of the band's less visible roots, in Broadway musicals, soul balladry, Stones-y orchestral pop and Fifties R&B.

Metallica have made their Metallica record again.

I have no hesitation in saying that McCartney III is every bit the equal of its predecessors. It is unadulterated Macca, with a little bit of cheese on the side – the sound of one of the greatest songwriters of our time, having the time of his life.

Lyrics and delivery suggest Imagine Dragons adhere to old-fashioned rock band idealism, but nothing is allowed to get in the way of a sparkling hook.

Seventeen Going Under would benefit from more such restraint, to really bring out the vulnerability and sensitivity underpinning Fender’s oeuvre. It is not much of a criticism to note that he doesn’t have the dynamic range of his musical hero yet. Fender may not be ready to take on the mantle of the Boss, but he’s a worthy apprentice.

Her fifth record is dark, even by her standards, full of bitterness and pessimism.

On her second album, This Wasn’t Meant For You Anyway, Lola Young has all of the grit and charisma of a seasoned artist.

The pair bring a gritty stiffness to Tim McGraw's Open Season on My Heart and Harris brings a searing power to Patti Scialfa's Spanish Dancer.

She doesn’t do anything wildly original with them [musical genres], but she has fun.

Comparisons with Nilsson and early solo McCartney are high praise, but at his softer side it all threatens to go a bit Gilbert O’Sullivan. Yet this is a lovely debut and its innocence is a big part of its charm.

They take a sombre aspect of their native Northumbrian traditional music, regional accent and dialect intact, and, sprinkling in a few intriguing covers along the way, build something string-laden and luscious but also delicate, wistful and melancholy.

For an album that brings together so many threads of Weller’s career, there is not much in the way of rocky guitar drive or punk energy. Yet there is an open-minded spirit in the way Weller mixes songcraft with ear-catching sonic details and structural adventure.