Though they might be mellowing in their age, that doesn’t mean to say they’ve compromised an inch, and 'Beneath The Eyrie' proves just that.

In short, though this is a completely new face to Goat, a deeper, richer exploration of their abilities, it’s not a complete departure.

The London quintet have raised their game, with something a whole lot more classy, salvaging them from the landfill indie chute.

Meek Mill has definitely earned his place as the people’s champion, and in turn has provided his best album to date.

If... is dominated by widescreen cinematic soundscapes and fabulously evocative arrangements.

It may be a tried and tested formula but inspiration as beautifully realised as this is hard to ignore.

Perhaps his strongest solo collection in some time, ‘I Love The New Sky’ holds true to an innate but rarely explicit sense of optimism. Softly uplifting in a very English way, it feels like a slow exhalation, a record that gently tugs at your sleeve. A low-key marvel.

Overall this is an album to be enjoyed in its entirety and proves a much more rewarding when doing so. Grab a comfy chair, wait for dusk and lose yourself. You won't regret it.

A luscious record bursting with ideas, technical flourishes and unexpected turns - ‘Fun House’ is Duffy’s greatest achievement yet.

Rebirth is completely captivating.

Tiny Ruins’ effortlessly stunning lyricism and creative cohesiveness mean that ‘Ceremony’ does in fact hit the mark from start to finish.

Despite the addition of new blood like Anderson .Paak on ‘Movin Backwards’ and Kendrick on ‘Conrad Tokyo’, the overall production, overseen by master cutter Ali Shaeed Muhammed, is unfiltered, choppy and distinctly reminiscent of the original Tribe sound.

Hard to ignore, her voice is glorious and rich, and her music intoxicating. ‘I Was Born Swimming’ is an intense journey to take with its creator, but it envelops entirely. You are where she is, you feel as she does.

The beautiful blends of genres and crisp production make ‘As Above, So Below’ an enthralling listen, and has Sampa raising the bar for herself once again.

With powerful juxtapositions of connection and disconnection, hope and despair, life and death, possession and loss throughout, Life After Defo is an absolute thesis on pop experimentalism.

Trend and time can’t touch them, and with ‘Senjutsu’ they’ve produced one of their best albums of the past 20 years.

‘This Is What I Mean’ is a low-key affair, downbeat and introspective. The tracks are intimate in theme as well as production, and it might just be Stormzy’s cohesive and coherent project to date.

While the pop-facing moments may not appeal to all, Tommy shows her dexterous talent and the extent of her creativity on ‘goldilocks x’.

It is the blistering irresistibility of what is achieved at that point, which makes this record striking and inescapable.

A Better Life is an entirely different beast, expanding on their debut’s vigorous garage-pop sound to create something darker, meatier and much heavier on all fronts.

A Seat At The Table is an expertly-curated, a near-perfect record that serves as a timely, musical manifesto on how to be black and proud.

As with most of Numero's releases to date, there are moments of gold in amongst plenty of enjoyably period music and it's best consumed in one, immersive and overwhelming sitting, accompanying book to hand.

The euphoric, floating '60s guitar sheen and carefree swagger which dominates proceedings is utterly uplifting.

Ritual Union is the rich vindication of Little Dragon's slow burning upturn.

The beautifully crafted fuzzy rock record has sonic concoctions that could have easily been taken from the best 90s and 2000s teen movies; not only does it serve its purpose of self-acceptance and healing, but it also further solidifies Laus’ place in the industry as a formidable, agenda-setting songwriter.

Clocking in at less than quarter of an hour, the ‘Perfect’ EP is another jukebox roll through the band’s quieter and louder moments, both of which are largely on target from start to finish.

Diviner is a brave album and Thorpe should be commended for it. It challenges what masculinity should be and that you don’t have to shout to get your message across.

He’s managed to transcend his previous efforts via the scaling up the sonics and simply maintaining the quality of this excellent record.

There’s a wonderful rawness to Porter’s vocals, confronting his troubles of the past with his blossoming musical pallet.

This is Dashboard Confessional in 2018: still as charming, still as cathartic and ultimately every bit the record you want it to be.

Eton Alive captures the self-proclaimed “Best Band in the World” as wide-awake as ever, dolloping fun all over their music like it’s Daddies Brown Sauce.

Somewhere between the elongated delivery of Joanna Newsom and the peculiarly soulful croak of Karen Dalton, this is a clear case of the voice as an additional instrument.

The radical variation on this album speaks volumes--this casting respect to yesteryear twisted with the juices of his modern imagination--and if ‘The English Riviera’ was Mount at his most accessible, then Love Letters finds him at his most inventive.

ZUU is an experience that transports the listener to a specific time and place. ZUU is further proof that Denzel Curry is one of hip-hop's most interesting and progressive MCs.

Without a doubt, ‘Only The Strong Survive’ exemplifies Springsteen’s unfaltering commitment to top-notch musicianship and production.

Mura Masa’s nuance, confidence and obvious versatility betray his relative inexperience, and it’s increasingly clear that he is already a musical force to be reckoned with.

Elegant, understated, Chastity Belt is the sound of a band matured, and it’s all the better for it.

Family life and a well-earned break have given this one-time Gothfather new tricks that pure despair could never provide.

Healey has delivered the ideal summer album, but it feels as much a gift to himself as his listeners.

Burna is at his best either holding it down for his lineage pushing traditional sounds forward or tracing African influence beyond its shores.

Zaba is blessed with musical facets that will blind you with their splendour.

The folk troubadour's sixth studio release has been presented as his "defining statement" and it's true, the Wessex boy has delivered something truly wonderful.

SBTRKT’s signature sound, which defies genre boundaries and pushes the boundaries of popular music, continues to shine on ‘The Rat Road’.

Art Angels is boundary pushing, it’s listenable and it’s Boucher’s most ambitious and most consistent work to date.

By considering themes such as love, social injustice and all round perseverance, it is both mature and engaging. The Big Moon are constantly breathing new life into a genre which sometimes runs stale. For that we should be eternally grateful.

More. Again. Forever shows a band who insist on exploring, learning and get closer to the truth about life and human existence, and there is just no way that this can ever, ever, be a bad thing.

The result is a truly thought-provoking, needfully important record.

Diverse talents are woven together with ease by a man with an encyclopaedic knowledge of how music can affect us. The end result is something truly special.

This is an album self-assured in its odd-ball-ness, yet confident enough to step out into territories typically less habitual to it's maker.

Faraway Reach is a happy place full of group hugs and big shiny grooves.

While The Strokes have outgrown any notions of being rock's saviours, in doing so they could just have delivered what might be their best album since Is This It. It's certainly their most diverse.

Some fans may be disappointed by the more subdued nature of ‘Someone New’. Yet her ability to combine woozy guitars with killer synths and endlessly catchy melodies hasn’t disappeared, only softened and matured, as the title track, the brilliant ‘Pale’, and ‘Dog’ prove.

It’s a lengthy, beautiful work, and undoubtedly a late career high from one of the most important, courageous songwriters in the country.

It’s rich in intricately layered synths, blending swathes of influences into a more distinctive sound.

TOY get the balance exactly right here, perfectly mixing noise and melody.

Taking listeners on a trippy journey through a landscape of organic musical complexity, there are also Beastie Boys vocal nods similar to those found in ‘Sadie Sorceress‘ from last year’s ‘Omnium Gatherum‘ release. Combining techno, disco, electronic and rap, this makes for a truly special combination.

With a new sharpness, Hazel English has delved into a sophistication that dynamically blends her previous music to create an oscillation of hard and soft that exudes in her tonality.

Raw, rambunctious, rollicking and rowdy, Spring King’s debut offering is further proof that the future of rock ’n' roll is achingly thrilling.

Hotel Shampoo shows off a simpler, stripped back Rhys - whose lyrics are placed front and centre of beautifully arranged tracks, each imbued with an infectious energy.

Primal, raw and unformed - and ultimately not an album for the faint-hearted - its lyrical content alternates between the absurd and the everyday.

Interjected with dusty dubplate samples, gun-finger shots and clashing MCs throughout, what Jungle Revolution lacks in variation it makes up with genuine spirit.

A raw snapshot perfectly designed to capture the ugliest sides of Britain, it’s obvious that the duo is happy to knock at our doors once again. There’s an ongoing need for this portrayal of relevant topics, and their sharpness and humour are as strong as ever.

The 36 minute ambience of ‘Drone In B’ allows space to contemplate all that has come before; and the conclusion is that ‘I DES’ is a celebration of future possibilities, and a truly beautiful listen.

The feel is consistently of an eerie twilight, perched high above a near-future city.

Coming two years after his debut ‘Blunderbuss’, a vitriol-filled purge that dropped in the wake of White’s divorce, Lazaretto does sound like a transitional step.

‘Heavy Heavy’ sees them fully marry their two sides; is this a very fun album from a very serious band, or a very serious album from a very fun band? Why not both? Young Fathers can have it both ways.

Out of something very, very old has come something deliciously new.

A strong, self-assured debut offering, 'TOY' represents a band who are capable of channelling multiple identities without losing sight of their own.

Deafheaven have managed to craft a lengthy, complex offering that could be considered the antithesis of their lauded second album, but also proves to their doubters that they're here to stay.

Despite the sadness that clearly surrounds this project there is plenty of positivity: the production of the album is impeccable, and the overwhelming message that shines through is of hope for the future.

Harkening back to the days of ‘Strange House’, but also moving forward, this industrial future for The Horrors is an interesting and welcoming one. It’s just a shame it’s only three tracks long.

18 thunderous tunes.

A debut that is full of depth and one that exposes the scope of electronic music beyond just the club.

A magnificent aural topography of Kaitlyn Aurelia Smith’s inspired imagination.

This is savvy, intelligent music.

Kinder Versions may not be a fully formed classic, but it demonstrates that the band’s ambitions are no empty threat.

The rapper fails to assert creative delineation over this sprawling mesh of music. That said, ‘Featuring’ is peppered with career highs.

Each track feels like its own ecosystem, tackling its own demons and fighting with its own musical journey. It’s certainly an album created with plenty of thought and various concepts tackled within its 40-odd minutes, leaving a sweet aftertaste, and the urge for an immediate re-listen.

Sonically ‘The Loves Of Your Life’ is a Wurlitzer whirlwind of nostalgia, however the glimpsed memories that lie at its heart are so charmingly dazzled to life - they are testament to the humanist eye of a songwriter as vividly inspired as he has ever been.

Phoebe Green explores and elevates her creative visions with ‘Lucky Me’, with helping hands by some of pop’s most innovative producers; Kaines and Tom A.D as well as lead producer for the album, Dave McCracken.

His inspired wordplay is consistently great and occasionally brilliant.

Fifteen years on from their first album, it reminds you that this band's trajectory is beholden to nothing except Andrew's own insatiable curiosity. Long may it remain this wayward.

If this is Spiritualized’s last – and Pierce hasn’t fully rowed-back on that threat, given his lucubrations drove him “crazy”--it’s a very satisfying denouement. If not, it’s still a stellar addition to the Spiritualized® catalogue, matching the vitality of ‘Songs in A&E’ or the richness of ‘that famous one from 1997’, even if it doesn’t say anything especially new.

‘Alpha Games’ is an exciting return with addictive hooks and array of infectious album stand outs.

Poppy is ready to leave her mark upon the world again with this hook-focused album that favours front-to-back consistency over constant mayhem and it makes you wonder what’s next.

As a double album, ‘V’ is a hefty commitment and is therefore unlikely to win many new fans for Unknown Mortal Orchestra, but it’s a coherent and mature piece of work which will be worth the wait for this well-established act.

Era Extrana is a collection of brooding, eddying and actually kinda loud indietronica that wears its Joy Division and New Order influences on its (mixing) sleeve and contains enough catchy melody lines to flirt with pop... and take it all the way to second base.

A world away from his genial role on Saturday Night Television, it’s a 12 strong song cycle that finds Tom Jones doing exactly as he pleases. It’s an extraordinary balancing act, another vital page in this remarkable ongoing chapter.

With more revealed in every listen, Another Eternity shows that there's much more to Purity Ring than initially meets the eye.

The band's third generation began just after the turn of the century and this LP completes a trilogy of new work that is confident yet vulnerable, refined yet earthy, moody yet flippant, representing a highly commendable contribution to the current scene, suggesting they are more relevant today than ever before.

Delicately beautiful, this is a real trip.

‘World Record’ is a thrilling ride through some admittedly familiar pastures. But then, perhaps that simply underlines how potent Neil Young remains, and the increasing resonance of his eco-politics.

Say what you like about the album, it’s impossible to deny it is blazing with confidence and a witty, abrasive humour. What we loved about Slaves when they emerged into the DIY punk scene has returned into the mainstream, and about time too.

'Sour Cherry Bell' doesn’t quite come out of the blue in the same way as its predecessor. Even so, there is a sense that the artist has once again quietly stepped out from the shadows to deliver this, her second record - apt for someone whose music has an absorbing habit of unfurling before the listener into full bloom from seemingly nothing,

If you are looking for ‘all the feels’ on a cold winter’s morning, ‘Change The Show’ will warm the cockles of your heart and make you yearn for the carefree and hazy festival days of summer.

The album really feels like it was years in the making. Somehow the neo-soul-leaning cuts (‘Anywhere’) complement the heavier-set tracks (‘Pusher Man: BWI’) with genius levels of curation.

‘Bunny’ is an album that rewards listening with a sense of naivety. Basking in its summery sheen is more than enough to draw pleasure from. But if you allow yourself the time to uncover all of its layers of depth, that glow only becomes brighter.

Bright, buoyant, and continually innovative, ‘Electricity’ is a project dominated by colour, vitality, and – crucially – a ruthless pop instinct.