Packing so much in comes at the risk of a more diluted sound and an album which lacks a strong sense of cohesive unity. This is most apparent in the first two ‘planets’, where the result is a little muddled. When not biting off more than they can chew by integrating three entirely different featured artists within a five track part (see ‘Off Planet Part 1’), the album is a fresh and interesting take on experimental electronica.

A record composed of experimental dissonance and slick pop bravery, ‘PARANOÏA, ANGELS, TRUE LOVE’ ranks as the boldest aspect of his career to date. A project that searches for honesty, it places Christine and the Queens in a quite singular lane of alt-pop abstraction.

‘Social Lubrication’ carries all the raw, essential components of what make Dream Wife such a well celebrated act while remaining remarkably self-assured and polished, even if the trio don’t greatly expand on their recognised formula.

The oft-explored worldwide sensualist feels newly alive here, ‘Fountain Baby’ a prime exemplar of mind-expanding afro-pop alchemy that revivifies the weary spirit.

‘Joy’All’ finds Jenny Lewis chasing her instincts, working with light and energy. On the closer, she warns “if it ain’t right it’s wrong…” – on ‘Joy’All’ everything feel’s right.

On occasion, the record feels quite lazy in its lyrical direction and yet too direct, falling into moments of cringe rather than what could have been perceived as powerful and fun.

No less inviting than their debut, while asserting its own identity at every corner, ‘O Monolith’ is a fine second album.

Overall, this is undoubtedly Niall Horan’s finest and most mature album to date – and was certainly worth the wait.

The album marks itself as one of the most special and singular of the year and beyond. With a cohesive tone of lysergic, hypnagogic soupiness, yet plenty of variety, the genre traversal is almost seamless. The only major struggle from ‘partygatorpurgatory’ is the impatience induced in waiting for more.

Never afraid to show both sides of the coin, this LP is powerful as he spits about hardships, politics, love and more; constantly referring to the title, he proves that not only is real rap back in style but so is realness.

He also writes with a newfound lens, new experience, with his fascination of the space between cities coming through in technicolour on this record. The also never-ending sonic exploration is continually excellent, ‘Space Heavy’ being just as eclectic as it is cohesive.

The result is a solid summer rock album to play from your portable speaker on a day at the beach that sees the promising young band evolve and develop an already appealing sound.

‘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.

Once again I am moved with the delicate care Gia Margaret approaches her art with, something of a prayer and an anthem to the sovereignty of unraveling, longing and finding.

Shorn of its visuals, ‘Shadow Kingdom’ remains a fascinating listen. .... Facing down his past, he comes close to eclipsing it, and offers magnificent proof of his continued vitality as a performing artist.

With its heady hooks and exuberant riffs, ‘But Here We Are’ is ambitious, poignant, and vivid in equal measure. The emotive and raw sonics are painful but positive at the same time and we as listeners feel every note, line and beat throughout this ten track album which ranks as one of the best Foo Fighters albums in their history.

A collection that is deeply reverential to the Americanised folk music form, and which also gratefully repays the debt that Rufus Wainwright owes it.

Surefooted, revelatory, well-rounded and emotionally deep, ‘Council Skies’ cements his reputation as one of the best songwriters the UK has ever produced.

With 21 tracks on display, Lil Durk clearly has a lot to unload. He’s justified in utilising this length – he’s got a great deal to process, after all – but there are aspects that could be edited.

The record could almost be split in half as it takes a rockier tone in the first tracks, which is gradually reduced to captivating stripped back endings. A true musical journey indeed.

As a rapper, woods has gone from strength to strength, his armoury fortified. It’s been a joy to witness. Where hooks were once short phrases bellowed on repeat, now he toys with the capabilities of his voice.

Far from dipping into past glories, the Mael brothers continue their storied run on a stylish, impactful record that illuminates their continued engagement with the wonder of the pop song.

bar italia unravels the sprawling and playful, yet concerted, development of their sound. Largely abandoning the sketchy, diaristic transitions and abrupt ends so characteristic of their previous sound—and World Music acts, generally—’Tracey Denim’ progresses with relative sonic coherence.

Some moments are impressive, like the eight-minute epic of a title track ‘Take Me Back To Eden’, which sprawls and writhes between textures and knows just when to spotlight frontman Vessel’s holy outpourings. ... But the issue is, this opus comes over an hour into the album, and follows a number of lengthy tracks that seem to be trying to do the same thing, but less successfully.

Sadly, co-producer Rick Rubin’s minimalist philosophy stifles many of the tracks. ... When the album does decide to break free, however, the results are stunning.

It’s surprising, but oddly delightful.

Plays it safe, doubling down on the formula that made his debut so beloved by fans, while making only subtle changes.

Often moving, and never dull, ‘Secret Measure’ is a softly thrilling return, assured in its place in the world.