Lianne La Havas is a grower of an album, perhaps more than her first two records. It’s slow, patient, and deliberate in its pacing – almost to a fault. ... Most of all, though, it is a staggering showcase of La Havas as a singer.

Everything on 151a is mixed so that every sound is waiting to be heard. Every cherished moment is ready and waiting for you to hear it.

As good as Poppy’s previous work was, this is a whole new level.

There’s inevitably a Portishead vibe throughout, but it doesn’t hinder the sound of Ice Melt or reduce Crumb to imitator status – it simply compliments the ethereal sound they’re going for, and remarkably succeed at.

Since Incubus' comeback turned out to be a flop, there is certainly a large gap for another rock band to take up the mantle of the act who successfully straddles the artistic and commercial crowds, and with In The Mountain In The Cloud, Portugal. The Man have placed themselves right in it.

While Vertigo Days boasts a heap of guest musicians, none ever outshine The Notwist, something that can often happen on guest-heavy albums. Instead, this cast of characters from around the world does wonders for their sound and makes for an intriguing and rewarding listen every time.

Ask me what I think about it in a month and it may be one of my favorite albums of the year. For now, it is a strong debut that can prove difficult at times, but puts the singer on the map of future artists to watch.

It's big, open, cavernous, so much so that it feels like it could swallow you entirely, and so you let it because it's comforting, warm, and safe.

It’s a profoundly empathetic collection of songs that offers both gentle reminders and harsh overtures as to the effort it takes to sustain healthy mental and physical spaces in your life. Woods has given us unparalleled access to see how she responds to the things that have kept her up at night and to those things which evoke happiness in her world.

It's not quite a masterpiece, but its successes are both grand and numerous enough to suggest that the next time Chromatics come around, they'll likely be delivering one.

With Creature Marling has delivered something that has her own personal sound throughout, but still manages to explore both lighter and darker territory.

Sound Ancestors is a realisation of what the Madlib and Hebden are capable of in tandem. It’s bold, different, and takes the genre of instrumental hip hop to the next level.

Transfiguration Highway is their first for a label (Brooklyn’s Solitaire Recordings), and features a more filled-out lineup and higher production values, which allow his imagination to really shine. Long-time fans of Little Kid won’t be disappointed either, as the songs on Transfiguration Highway still have that intimate, homespun charm – they’re just a little more sturdy, is all.

93696 is neither for the faint of heart, nor is it for those without the time to fully immerse themselves in the work as a whole. This is rapturous, though undoubtedly challenging, music from a band constantly moving into territory that few others could even imagine, let alone realise.

Here she sounds more polished and pop-friendly than ever, largely thanks to some new additions and some smart subtractions.

While Mannequin Pussy may not have necessarily progressed hugely, they have found thrilling new ways to implement the sounds that made Patience such a success. Most excitingly, the little glimpses of new ideas and chemistry suggest it’s just a stepping stone to what’s next.

The album dissolves as it progresses, transitioning from upbeat fare to a visceral dream sequence of disoriented meditation set atop a versatile soundtrack.

By the end, you’ll hopefully find that skins n slime is a perfect title for a record this overwhelmingly layered and engrossing.

Shall We Go On Sinning So That Grace May Increase? is a wonderful record of majesty and enveloping textures that radiate a sense of collective positive energy. Daniel Drew has produced an album of exquisite delight; mature enough to know its place in the world yet filled with childlike awe at how things could be.

Subtle complexity may not be everyone’s cup of tea, but that is yet another aspect of her music that is so impressive: unless paid close attention to, it will not appear to be all that complex. It will go down very smoothly regardless of the kind of lenses one views it through.

As his name implies, Ghostpoet can be vague, mystifying, and a little bit of a downer--but ultimately the best art is the kind that makes you think and broadens your perspective, which this record does in spades.

52 minutes is a pretty damn lengthy runtime for a debut synth-pop album, but TRST flies by.

Ugly is so rich, so dense, so full that you forget there's just three of them.

Crawling Up The Stairs should be praised not only for its beauty, honesty and sonic specialty, but also for the way it’s sequenced.

Beginning with another Strokesian riff, Geese build momentum for a catastrophic finale and deliver the goods in an almost Deerhunter via Monomania-like fashion, before abruptly pulling the plug, and ultimately leaving us wanting more.

In the end, there’s a pure, unadulterated joy on display here; a spiritual likeness closer to the early new wave of Killing Joke and The Cure – or aforementioned 90s alternative rock – than to the poetic nostalgia of the indie generation.

For all its indulgence and fluid musical expression, Sex, Death & the Infinite Void doesn’t even crack 40 minutes in length. Creeper accomplish a lot in that time, and their new record is a suitably triumphant return.

It’s music to laugh about our former selves at, just as much as it’s perfect to get drunk and eat ice cream to – and in that, it could define a whole new generation. But for now, it will totally define this summer.

Animal is a beast worthy of its own spotlight and attentions. The genre-crossing is much less surface level, as the duo creates grander and grander platforms for Marling’s commanding voice. The whole thing is far more theatrical, full of slow building ballads and cresting climaxes.

A laser-focused record that’s their longest studio album since The Hawk is Howling, but has a lightness of touch that feels nothing of the sort.

Forever Means is not just a B-side compilation; these songs sound distinct from each other but somehow come together cohesively.

It’s a great American psychedelic record that retains an outsider perspective. And in that, a decade of ambitious exploration has finally paid off.

This set of songs, intimate and filled with lyrical and musical nuances that encourage repeated listening, is supremely rewarding. That resilient streak is sure to take Anjimile places.

It's modern sounding, and everything seems to fall into place; the lyrics, the concept, the music, the band chemistry, even the booklet artwork is great.

While No Love Deep Web is not the masterpiece The Money Store undeniably is, it still manages to be both a substantial step forward and, even more importantly, a work not easily forgotten.

Crafting an album that's bold and expansive but manageable and narratively sound is no easy task, and that's exactly what AU have done.

It may not stand at the forefront of its creator’s dauntingly strong body of work, but Gold Record more than earns its place among his never-ending soul searching.

I ultimately feel that the original version, in all its hypnagogic glory, retains a certain charm as an unstreamable lo-fi curio. By removing all elements save voice and organ, we have what is essentially a different album. Whether it’s better or not, another Alice Coltrane album is nothing less than a gift.

This is one of those albums to throw on and leave on while you accomplish something: it won't demand too much of your attention, but none of it will bore you.

The title Beware of the Monkey may come across as a warning, but it’s a lively adventure destined to pull more in than repel. Here’s a man who loves the antique sounds of yesteryear, finding use for them even in the 2020s.

With Lines, Lynch has managed to trudge on ever closer to the boundary separating the two worlds that he calls home, though at least for now he’s decidedly, satisfyingly settled on the side of the outré.

A bold and entrancing set of songs, it’s hard not to see what a big leap forward she took on this album.

Yellow River Blue is a truly intoxicating experience, akin to a spellbinding late night story told by a stranger. As outsiders, we may not have the context, but we know more than enough to realize we’re witnessing something intimate and special. This is easy listening fit for deep reflection.

For the first time in awhile, however, the energies he has expended have converged into a proper piece of art.

Now on the other side of forty, this is QOTSA as weary of mortality as they’ve ever been. They also sound as vital, forceful and rough around the edges as they have in over a decade. Welcome back, gentlemen.

Just Once is certainly a singular release and not a direction for HTDW's future (though more of this stuff wouldn't be unwelcome), but it's still moving in a way that is completely individual.

The tracks on G_d’s Pee AT STATE’S END! share a sense of triumphalism brought about by the communion of music. The album soundtracks the end times, while offering glimpses of hope.

The Bible is undoubtably one of Lambchop’s most mature records, but it is also one of their most honest, most unguarded in its emotional and historical perspectives.

Both [Frankie Rose and the Outs’ 2010 self-titled] and this one are short, sweet, and undeniably charming rock records that hold up on repeat listens more than you might expect.

Each track on Nothing To Declare feels like a condensed, expertly-aimed Hadoken of fun, furious energy.

Moms is perfect evidence that Menomena are still more than capable of holding their own.

This record – like most dark art – is not merely meant as an extreme experience, but a critique of structure that commodifies human bodies.

Researching The Blues isn't the album to convert non-fans of Redd Kross, but it does manage to tie in with the rest of Redd Kross' discography without sounding dated or out of touch.

Overall, When Fish Ride Bicycles won't convert any naysayers, but for both fans and those new to the group, this is a tightly-crafted showcase for the unique sound and style of The Cool Kids.

Thematic and lyrical motifs find repetition throughout the album like a musical director slowly pulling the strings together.

SBTRKT's debut is an impeccably produced record that exemplifies an engaging mixture of soulful vocals and intricately layered electronics.

His voice is consistently stroking it throughout the 16 tracks, ensuring it’s one of his most revealing bodies of work to date. A true and honest portrait of a complex human being.

This is music for the mercurial bunch in need of a break from their own chaotic lives, who need to experience someone else’s even if it’s momentarily. It’s something the genre was intended for, and bands like Duster will continue to provide it for years to come.

It sits comfortably in the middle of the vast catalogue of albums released by Radiohead and its members. It’s reassuring to hear that, 35 years after the start of their artistic journey, these musicians can still come up with compositions this elegant and exciting.

Eagle is definitely Marling’s most considered work, and most of that comes simply from the fact she’s stripped away a lot of the decoration, and yet ultimately it feels easy for her, if not a little predictable.

While B FLAT A is unflinching in depicting stark realism, it also proves to be decisively light-hearted and generous in its unburdening from the absolute strife it inspired. What a thrilling, refreshing band.

Putrifiers II stands as the moment in the bands discography where they break free of any and all restrictions and leave the door wide open for any subsequent releases.

It's reassuring and delightful to have a debut this excellent to cement her place.

It manages to sound familiar while sounding entirely new, all the while making it clear that this is a sound only Lambchop could create.

Soft Will is certainly not as immediately infectious as Smith Westerns’ previous outings, but that does not make it a weaker album. There are still many injections of fun in the wordless gang vocals and theatrical guitar solos.

By endowing his demos and bedroom meditations with a sense of hopeful purpose, tempered by a resolute knowingness of the world around him, Juul has made Somewhere Else something quite special--a sometimes hesitant but ultimately warmly inviting record to cling to in this waning winter season.

Quaranta is an incredibly brave work of art. It eludes navel gazing and the self-flagellation that comes with substance abuse. It is varied enough to provide entertainment, but never submits to commodification.

What can I say? It's just a really f*cking good rock album.

With more questions raised than answered, Cain’s unusually ambitious and fully-realised debut somehow leaves listeners craving more in spite of its wonderful, exhausting, 75 minute runtime.

In many ways, it’s Wet Leg’s small imperfections that make it the perfect debut – an impressive, tantalising exploration of their core talents that leaves just enough room for improvement.

She has found a way to go beyond merely soothing; she nourishes her soul with each word uttered, building herself up into the titular Protector. This is the sound of her new day dawning, and it’s a wonder to behold.

It's exceedingly confident with what it does and it spins a very individual and emotional tale that's more than worth investing in.

Arcade Dynamics still might not be for everyone, but singles like "Hamilton Road," "Art Vandelay," and "Killin' the Vibe" should not go unheard.

iTunes Sessions does it again with a rewarding little surprise that none of us were really anticipating, but are plenty glad to add to the collection

While The Year of Hibernation doesn't rocket into the stratosphere so much, it's still an exemplary debut.

They have managed to recapture the magic that permeated their best material and made it so imminently replayable. This is a bold move that should be celebrated, and more importantly, it should be emulated.

He Gets Me High is definitely worth a listen, if not a purchase.

Still, beneath all of her oohs and la la, is a dark-blue and starry expedition, a true passion for two musicians that really just permeates straight through the glittering guitars and infectious, harmonized choruses.

Radical Romantics offers enough detail, emotion, and vigour to tide us over until the next inevitable shapeshifting moment.

This is undoubtedly going to be a divisive one for long-term fans, with some holding it up as just as vital as anything else, while others will simply overlook it or just take a couple of highlights to add to their ‘Best of PG’ playlists. Whichever the case, whether you devour it or dismiss it, there’s no denying that it expands the mythos and majesty of Perfume Genius.

Heaux Tales is a provocative return for Sullivan that showcases her incredible knack for storytelling.

Philadelphia brings grace and elegance to an era removed from spiritual insight. In that, it is deeply philosophical and absolutely necessary.

The wicked atmosphere that they’ve crafted across Heart Under is worthy of celebration alone.

Her latest, HiRUDiN, is another notch on a belt which is tightening its grip on pop supremacy.

They may be lumped in with the recent girl group pop fad, but End of Daze proves that there is nothing common or ordinary about this band.

Mong Tong 夢東 have made something that’s rewarding in both the short and long-term, and they have the nerve to make it look easy.

The band delivered a tight album with hardly any missteps. It might not have been worth the seven year wait, but it's a really enjoyable album nonetheless.

Regresa is a perfectly produced, fully realized debut from a promising, intriguing act. Its vibes couldn’t be more relevant in 2020, and beyond its vital plea for compassion, justice, and progress from a duo hailing from a cruelly maligned place, on a more simple level, its music is simply damn enjoyable.

As a whole, Lex Hives serves the same purpose as just about every Hives album thus far: dance, let yourself go, and have a good time.

Even with guests and layers stripped away, she can still construct ambient moments that stick in your head.

Nothing Is Wrong sees the band not only avoiding the often-discussed sophomore slump, and rising to the challenge and delivering a far more accomplished record than their first; one that should make the band into one of the biggest and most respected in the current americana/folk rock community.

For the many Heartbreaking Bravery will help rekindle an interest in Krug once more.

On Sucker’s Lunch, Kenney presents each song with a fervor only teased on previous outings and she has never sounded more compelling. It will be exciting to see how she continues to shape her sound and identity going forward, but for now, at least, she has served up a delightful feast of music to keep us satiated until that day arrives.

Each of these tunes, including the classical inflected "Fish With Broken Dreams" (the earliest track, ostensibly recorded when Maus was 19), hold up to the standard of his previous studio efforts, perhaps even surpassing some of the filler from his two earliest LPs.

Pure X have crafted a dream-like (think more Galaxie 500 and less Beach House) tapestry that is as difficult to derail as a freight train once it builds up relative speed.

The change-ups between choruses and verses are less rote, and along with Goodman's ability to write good hooks, there isn't too much that gets in the way.

Rinse Presents: Brackles is one of the strongest and most immediate full-length UK bass debuts in some time and one that exceeds the promise of a young producer's previous potential.