This live album by The Jimi Hendrix Experience is a compelling and beautiful tribute.

Its beauty lies in the intuitive simpatico of the playing, with different elements rising to the surface at just the right moment. It used to take them months in the studio to achieve this blend. Now these old road warriors can conjure it in a single take.

The album was recorded in Berlin and the dark pulse of that Krautrock influence gives the songs a steely sleekness of purpose (and real cohesion), while the band layer a vigorous variety of sounds and tempos on top to keep things interesting.

The pure beauty and emotion of Rosalia’s vocals and the sensational grooviness of her rhythms all speak for themselves, offering a fantastically fresh take on Latin flavours and modern urban pop.

Sexistential is a stunning search for self-acceptance after motherhood and a long-term relationship coming undone.

It is an enormous pleasure to report that the new David Bowie album is an absolute wonder: urgent, sharp-edged, bold, beautiful and baffling, an intellectually stimulating, emotionally charged, musically jagged, electric bolt through his own mythos and the mixed-up, celebrity-obsessed, war-torn world of the 21st century.

The joy here is in basking in the creative process, how Dylan chipped away at differing tempos, alternate arrangements and revised lyrics for each composition, ultimately to arrive at the final 11 tracks.

Underneath the almost soporifically smooth old-soul and country polish, Adams's ear for a delicate melody and feel for the shadowy nuances of emotion give this latest chapter beautiful depth.

The weirder moments--the molten strings and xylophones--redefine the band as a powerful and original force.

This album proves Lewis can master the mainstream, too, with earworms to soundtrack parties from Brooklyn to Brixton. So much more than “just a DJ”, one suspects that within a few short years, Lewis will be selling out stadiums.

The Mountain is Gorillaz’s best album since 2010’s Plastic Beach. It’s ambitious, kaleidoscopic, thematically cohesive and packed with the kind of bruised melodies that cement the Blur frontman’s status as the bard of middle-aged melancholia.

Her most measured and mature work, and perhaps the most accessible to those as yet

It is, rather, an hour of wonderfully immersive music, which moves from dancefloor physicality to spiritual meditation with the dexterity – we can confirm – of a true master.

Women In Music Part III just hits it from top to bottom. It is the album in which Haim at last fulfil their potential, a summery California pop rock treat in which the blissful ambience is backed up with emotional grit and substance.

At its heart, this is a serious work, with an underlying somberness. ... Almost 60 years since we first heard from him, the old protest singer is still composing extraordinary anthems for our changing times.

[Giles] Martin and co-engineer Sam Okell have done a loving job, getting away from some of the oddities of the familiar stereo mix done by Abbey Road engineers. ... It is like seeing a favourite movie again in high definition. It doesn't replace the original, it enhances it.

On a production level, this album is cutting-edge, on a lyrical level it is brutally brilliant. It will melt your ears and your heart.

Scrub away reputations and this album is so much stronger than the latter-day works of many of Fay's contemporaries.

Bridgers’s modernity is actually a kind of timelessness, yet delivered in an emotional and lyrical lexicon that speaks directly to this moment.

It’s bleakness on a stick. But Anima is also a dystopian rhapsody that will stay with you long after the moment and rates as one of the purest expressions yet of Yorke’s devastated world view.

Cuz I Love You is absolutely splendid, a joyous album to put a smile on your face, a song in your heart and your booty on the dance floor.

This irresistible album is yet more evidence that London’s musical scene might just be the liveliest in the world.

The song kick-starts the album's powerful sense of forward motion, of a woman struggling to wrestle free from expectations, relationships and religious convention.

Creating a 21st-century album that is still able to deal in an original and touching way with the big and interesting subjects of love and death is a trick that many folk and country musicians try to pull off and few achieve, especially in the impressive way that Gretchen Peters does with her 2015 album Blackbirds.

Her approach is confident and challenging, but not arch – several direct, haunting love songs are as delicate and affecting as any Adele tear-jerker.

Welch's singing throughout is extraordinary, shifting gears effortlessly from melancholic softness to high-powered exultation, even ululation. Every gasp, growl and fluttery trill seems perfectly placed.

Welch’s self-mythologising is extravagant, her poetic language overloaded, yet her lush music binds it all into something magical on songs that exploit explicitly female archetypes to examine her own psyche.

A tone of urgent honesty pulses through the album, a visceral need to connect that shatters the production's glittering surfaces.