‘Miracle’ delves the depths of human introspection with a tangibly cathartic gleam, imbued with an essence of that wondrous beauty that only miracles can possess.

Strong and raw instrumentation lays a varied and strong foundation for a subdued vocal performance that charms listeners into a relaxed state, in which you can float along to the soaring instrumentals provided throughout.

It’s a huge record, a panoramic thriller that places three incendiary MCs against a digital orchestra – an ambitious, lavish, and extraordinarily successful release.

A bold gesture weighed down with excess, 'The Voice Of The Heroes' is a worthy experiment, one that feels destined to be a cult favourite.

It’s rare that an album is ten years in the making, and honing that much emotion and experience into roughly 41 minutes is a monumental task. Chloe Foy accomplished it.

Continual evolutions has pushed them away from their roots, feeling less like a band and more like a committee, marking out different strategies without truly owning one themselves.

A 10-track wonder that is a more mature and eclectic take on her gloriously femme and thundering electro-pop.

Oddly, ‘Butterfly 3000’ shines brightest not through its movement but its precise arrangements. ... On those occasions where King Gizzard fully embraces the groove, however, ‘Butterfly 3000’ is a real treat.

Though 'Nowhere Generation' isn’t breaking boundaries, it doesn’t need to. Rise Against have carved out a niche that works for them, and if it aint broke, why fix it?

‘BUMMER’ is a record made to be played hard and loud, heard blaring out of car windows and making cavalcades in faceless crowds.

Sleater-Kinney permit themselves a few self-satisfied experimentations – not everything comes off, such as the slightly wayward ‘Method’, for example. At its peak, however, ‘Path Of Wellness’ is a riot, one that underlines Sleater-Kinney’s hallowed status while providing a continual challenge to the idea of them as a ‘legacy’ artist.

Listening to ‘No Gods No Masters’ feels like listening to Garbage again for the very first time, which is a terrifically thrilling prospect.

Carefully structured, ‘MAN MADE’ is able to caress the spartan sonics of ‘Away We Go’, for example, before plunging into the revelatory rock guitar of ‘Sinner’. In bringing such diversity together, the central creator is able to span opposites, and build bridges that perfectly amplify her touching lyricism.

Perhaps too slick for some, the Crowded House catalogue has never been afraid to be open. Maybe that’s a fault, but there’s certainly nothing wrong with a slice of innocence and songwriting purity in a landscape so smothered with irony.

Whilst there are still shades of James’ jangly indie-pop in parts, this album takes the band into a new sonic adventure where you hear lo-if leanings and pumping club beats.

Definitely not a reinvention, it plays to the band’s strengths while amplifying new qualities, a record as bruising as it is subtle. Working to their own passions and desires, ‘Blue Weekend’ places Wolf Alice beyond the reach of their peers.

Wyldest writes lyrics that are sparse, but that is not to say that they don’t have bite.

‘Jubilee’ sees Zauner fully unshackled for the first time, keeping the emotive core of her songwriting and marrying it with boundless energy and ambition. It’s truly a triumph.

A record you’re sure to fall hopelessly in love with, its immediacy taps into the endless zen of those long summer days.

In 13 tracks ‘The Waves pt. 1’ is an elegant accumulating of Kele Okereke’s work. It encapsulates so much depth and takes you on joyous rides that you can never anticipate the direction of.

You’re left with the impression that DMX was a true rap great who was on the verge of potent rediscovery, of claiming his place as a key factor in the growth of a new hip-hop generation. But you’re also left desolate that this simply wasn’t to be.

She continues to rise above our expectations. Producing a sound that would comfortably fit alongside the greats she once listened to on her Walkman.

As ever, this latest window into his psyche prompts as many questions as it provides answers - despite offering his usual warmth and intimacy, he still deftly keeps the listener at bay by retaining a degree of mystery

It’s majestic and beautiful in ways I never expected black midi to reach, let alone attempt.

Johnny Flynn’s consistently simple melodies and simply, his sheer musicality, are evidence of an artist in his prime.

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.

These tracks are like messages in glass bottles, making their journey from one continent to another, across a calm sea. Pure serenity. ‘Flora Fauna’ is proof that a woman can be many things.

Despite the few forgettable moments in the middle, ‘Scaled And Icy’ remains mostly strong in terms of sonics and lyricism throughout, and though it does end all too quickly it is an impressively cohesive production that doesn’t reveal even for a single beat that it was the product of long-distance virtual sessions.