Overall, ‘Ego Trip’ is proof that Papa Roach still have their finger on the beating pulse of heavy music.

‘Serpentina’ speaks to her craft, elevating her talents as a musician as she sheds through her layers and births a new and transformed performer.

It finds the band coming into their own, more unafraid and united than ever, with a record heavy in lyrical content but bright in tone.

Bouncing from indie to alternative R&B to hip-hop, ‘Ivory’ is a culmination of his interests, all mushed together to create his own sense of authenticity. It is a commanding start, clearly marking out his career ambitions as he continues his journey of success. For him, this is only but the beginning.

An intriguing if not fully formed experiment, ‘Fear Of The Dawn’ is a defiantly un-Jack White statement, transgressing his role as a traditionalist in favour of something less logical. Packed with nervous energy, its haphazard dash to the finish line is nothing if not fascinating.

Put aside your cynicism, and dial into the fireworks: ‘Wet Leg’ is an exceptional debut album.

The record is vast yet insular, and you cant help but get swept up by the show.

The tracks ebb and flow, never stopping in a static moment but chasing a thought, an ideal and holding out hope.

What ‘The Line Is A Curve’ teaches us is that Tempest is still capable of tremendous feats of lyricism and dynamic storytelling; if its inconsistency feels a little frustrating at times, it’s perhaps testament to the flow that bound together previous records with such success.

The combination of having finely crafted compositions and a relatable, poetic voice is effective.

One of the quirkiest albums to arrive in the alt-indie sphere for a while, ‘Unlearning’ will definitely surprise you.

‘Unlimited Love’ is exactly what it says on the tin. A celebration of union, friendship, and life, all manifested across 17 tracks. Littered with lyrical easter eggs and distinctive Chili Peppers funky flare, this record is a regal return.

It’s honest, dark, funny, tragic, moving and incredibly catchy. This is PUP’s finest album to date. No easy job. At its heart this is a slow descent into self-destruction. And we feel all the better for it.

Unapologetic bangers with tongue firmly cheek and a furious, feminist bent, ‘Tilt’ is the album you need in your life.

Wallows are at their sunshine best on tracks like ‘Marvelous’ and ‘I Don’t Wanna Talk’, bouncy bright tracks which hold clear influences from Tame Impala, Vampire Weekend, Mac DeMarco and the likes.

Despite the dark aesthetic of ‘Reborn’, the album shines bright with promise for the futuristic vista of Kavinsky.

The project finds Lil Durk facing up to his faults, and owning them, while never abandoning the landscapes that framed him. At times hugely inspired, the intensity of the experience will leave you breathless.

‘Melt My Eyez See The Future’ finds Denzel Curry sitting in a lane of his own. A unique, unified experience, it’s a boundary-less work of endless fascination.

An excellent debut record, it offers a tantalising glimpe of what lies ahead.

This awareness of his public perception seems to dominate the album, even in the tracks that don’t outright address it. As a result, the overall mood is far less authentic.

At 13 tracks there is perhaps a little weight that could be shed – at times, ‘Never Let Me Go’ can feel a little indulgent, lacking a certain concise nature, with ‘This Is What You Wanted’ sounding like a flat cousin of Coldplay’s ‘Clocks’. That said, when it hits ‘Never Let Me Go’ is a reminder of how thrilling, and genuinely intoxicating Placebo can be.

'Homesick' is defined by its anthemic vulnerability, truly capturing a sense of coming of age excellence. Much like the outfit’s previous releases, there is this sense of familiarity stitched into every track, making the nostalgia shine even brighter.

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

‘Heavy Like A Headache’ takes the musical intricacies that The Ninth Wave are cherished for into new territories. Lyrically, this is The Ninth Wave’s strongest album yet – they’ve never been more open about themselves as artists.

While not without fault, ultimately ‘Forever’ emerges as a tender salute to Phife Dawg. Six years on, he remains a key aspect of the rap firmament – a light that has not dimmed.

The variety in the instrumentation is only met by the variety in her voice; going through registers, accents and even characters, 'Warm Chris' is an album covering the complex and enigmatic voices of a supremely singular talent.

A singular experience, ‘Island Family’ is unsettling at first, until the listener begins to relax into the world Pictish Trail has prepared. An attempt to discuss familiar experiences in an unfamiliar way, it’s a rewarding, groundbreaking insight into his life, one that retains a playfully experimental edge in the process.

The music is stark and abrasive but there is a feeling of hope. Lurking underneath it all themes of gender and insecurity litter ‘The Great Regression’.

Although ‘Present Tense’ leans on the cumulative distance between its collaborators as its primary subject matter, it generates a distinct vacuity within the record.

At times brooding, at times impossibly bubbling with light joy, this is a release that highlight Mattiel’s musical abilities - easily able to drop one sound for another at a moment’s notice, and doing it all with absolute class.

‘MOTOMAMI’ blows away the lingering strictures of lockdown, and finds a true modern icon bathing in personal freedoms.

A hugely effective partnership, Curren$y’s raps – weed, women, the trappings of fame – don’t dwell on subtlety, but it’s the manner in which they are presented that affords ‘Continuance’ its depth.

Duchampian yet danceable and nothing short of essential.

Thanks to Black Milk’s production this is their most accomplished album since 1995's ‘Temple Of Boom’.

Even when she’s not at her best, she displays enough nous and melody to stand head and shoulders above practically all her rivals.

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.

In classic Alex Cameron form, ‘Oxy Music’ is full of true lyrical artistry in the most to-the-point way possible.

'Great American Painting' is a record that is strongest for its instrumentation, featuring The Districts' typical cross-streams of guitars that amply lamenting vocals, intriguing listeners by making reference to social issues within America.

To take influences from so many places, whilst still being as focused as 'Skin' is no mean feat and while it can be hard to define the line between the worlds the band traverse, no one else out there is walking that line right now as well as they do.

With 'Broken Equipment' BODEGA has transformed from a band to watch to something truly exciting indeed. Any early album of the year contender for those who like their music as sharp as a knife.

The album not only delivers O’Connor's signature use of bubbly synths, electric pianos and programmed beats that instantly make you feel good, but it also serves as a lesson on learning how to heal and move on.

With 'Diplo', listeners can raise their hands to the sky and sink into undulating house, dancing safely under the watchful production of a ten-time Grammy nominee.

‘Year of Love’ opens the record with a palm-muted guitar riff, unexpectedly, and from there ‘Classic Objects’ blossoms into classic Jenny Hval, ‘Cemetery of Splendour’ and ‘Jupiter’ forming its plain, heavenly, skyscraping highlights.

Multitude is the perfect return for such a formidable musical talent, serving not only as a reminder of his innovative talents, but also highlighting how much richer his soundscaping and storytelling has grown over his hiatus.

As they create their most on-their-terms album to date, Band of Horses manage to lift a weight from your shoulders you perhaps didn’t know was there.

A noble experiment, ‘Digital Roses Don’t Die’ displays an artist willing to stretch, willing to take risks. He never names the source of his adoration, but the real winners here are Big K.R.I.T.’s fans.

Throughout a collection of moving gems that have the potential to evoke heartbreak, ‘Nobody’s Home’ also houses contagious jams that speak to Bakar’s take on the infectious nature of indie rock.

Effervescent, exuberant, wry, but always appealing, ‘Run Rose Run’ displays Dolly’s evergreen storytelling prowess and is a vibrant and compelling body of work.

A song cycle that touches on identity, loss, and the path through it all, it’s one marked by maturity and a growing awareness of the potency of her own talents.

A record that thrives on subtlety, ‘Screen Time’ is engaging but never simple, its quiet complexities taking time to truly unfurl amid Thurston Moore's painterly landscapes.

As a whole, the album seems to rally against the instant gratification which is a main feature in so much contemporary music—this was definitely not made with TikTok in mind. Instead, it encourages stillness and contemplation, rewarding deep listening with rhythmic undercurrents that lure you into a meditative state.

With ‘23’ Cench truly puts his name at the top of the leaderboard. The ear for production, vulnerability, braggadocio, and likability make him one of the UK’s premier artists, not just in drill or rap but UK music as a whole.

‘God Don’t Make Mistakes’ is a stunning, multi-faceted achievement.

A project driven by a focussed, finessed sense of purpose, ‘The Tipping Point’ is an excellent song cycle, one that touches on their innermost feelings.

There’s enough here to make even the most discerning New Rap playlist – but as a body of work it doesn’t land in the effortless fashion that made EARTHGANG such a pivotal pairing.

Revealing, emotional, powerful and progressive, ‘Fever Dreams Pts 1-4’ is an impressive and committed body of work.

‘Love Sux’ is more of an antidote to pop progress rather than a nostalgic throwback. It just has all the elements of what made us fall in love with Avril Lavigne in the first place.

Not only is this their biggest album to date, it’s also their best. It builds on their remarkable career, as a duo and solo artists, to date and makes us question what jazz should be doing in 2022. ... It’s brave, accomplished, daring and wonderfully catchy in ways you don’t expect.

A wonderful, absorbing listen by a truly special group.

Though undoubtedly a beautiful set of tracks, Once Twice Melody suffers from its length – almost eighty-five minutes is hefty for a listen in one sitting – and the occasional clashes in instrumentation and vocals, with sequenced drums and synthesisers taking away from the warmth of Legrand’s voice.

A pleasing work of subtle evolution that taps into the group’s core values while teasing out fresh ideas.

'PREY//IV' is not simply music to listen to: it’s an attempt to communicate genuine pain in ways that simply aren’t possible through a written statement posted online. Little surprise, then, that the lyrics go for the jugular on occasion (“You taste like rotten meat”; “Are you picturing my insides outside of me?”). However, they’re at their most effective when their visceral imagery gives way to narratives of coercion and control, as it does on 'FAIR GAME'

With 'B FLAT A,' the group has taken another step towards solidifying their wholly distinctive sound. A tar-black marriage of poetry, politics, and powerful rhythm. With each release growing in confidence, we look forward to seeing what they give us next.

The album is bold, eccentric and proudly rooted in classical South Asian traditions, whilst sounding fresh and accessible at the same time.

What follows isn’t a retreat, however, but more of a re-entrenchment, a record that tackles aging, loss, and reconciliation. It's not without surprises.

Refulgent in tone, gorgeous in execution, the new album lingers on matters of the heart – a full four different songs have ‘love’ in the title. Still, nobody does it better.

They’ve come out the other end with a truly talismanic record that will live long in the memory for any who experience it.

A work of assured yet subtle transition, it re-engages with some of alt-J’s core tenets, while not being afraid to engage emotionally.

Whilst there is a real danger to being overly nostalgic, this album hits a happy medium.

While a fun and energetic record, much of the songwriting falls into the somewhat forgettable. Everyone is bringing their A-game, and they're having a blast while doing so, but nothing entirely sticks to the ribs.

It’s best described as an album for escape- to leave the world behind, and encompass yourself completely in the emotive contemplation it offers.

Ideas are left unexplored, while 2Chainz innate abilities – on his day, one of the best MCs around – is clouded by a willingness to pack the tracklisting with guests. If this truly is his last trap project, then perhaps a change is overdue.

'Few Good Things' picks up steam with 'Still', a reflective collaboration with 6lack and Smino, climaxing four songs later on 'If I Had a Dollar', the most melodically ambitious and emotionally evocative song on the album.

The friction between these two worlds is rife throughout the album, creating moments of explosive hyper pop euphoria (Bites on My Neck) and complete emotional vulnerability and devastation (Friendly Machine).

‘Give Me The Future’ achieves everything a pop album should and stands out as Bastille’s best and most expansive work. The narrative is compelling and successfully paints the picture of a universally relatable topic.

‘Laurel Hell’ is a big album that demands to be known, full of indie-pop wonders and most of her most moving ballads yet.

Le Bon’s finest moments bypass rational analysis in favour of radiant gestures. We should welcome them during these colder days.

Overall, the ensemble sound incredibly close to the freewheeling jams fans are accustomed to; in short, they meet the sky-high potential teased on their first record.

‘Motordrome’ can be hit and miss. ... That being said, there’s a huge amount to recommend here. A clinical, finessed pop record, ‘Motordrome’ utilises its 10 track span to broach a number of fresh ideas.

There are moments where Dior shows his undoubted potential and those moments save this album from being completely mediocre, unfortunately, those moments don’t come anywhere near often enough.

'W' sees Boris fully exploring the lighter side of their sound. ... But the delicate beauty of these moments is magnified when Boris push themselves to the other extreme.

A work of impish maturity, ‘Extreme Witchcraft’ is Eels at their most playful, with the band’s carefree wizardry still delivering thrills, even after all these years. While not ranking with their absolute best work, in terms of breakneck guitar-led songwriting it more than delivers.

Undoubtedly their best record to date, it finds Palace asserting themselves in ways they’ve always suggested were possible.

A helter-skelter ride through extra-dimensional sonics, ‘Wilds’ is an exhilarating return, The Soundcarriers’ lengthy absence simply making their return all the more potent.

The product of producing something so relatable that people find solace where you once only saw pain. Sack off therapy, just stick this on.

It never quite transgresses those influences, yet in terms of sheer charm and bravura it places Olly right up there with his idols.

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.

A fascinating record, ‘Archive Material’ is another impressive step forward for Silverbacks.

These monumental tunes are totally bewitching from start to finish with heartfelt moments and deep intent packed into every second.

A solid addition to his discography and undoubtedly more unforgettable than his debut.

Perhaps it’s their captivating storytelling taking a psychological turn, or maybe it’s the way they’ve incorporated cutting edge electronica, pop and R&B elements into the melodic energies of classic new wave, alt-rock and indietronica, but, ‘Fix Yourself, Not The World’ is a record that will appeal. It is arguably their best work yet.

Whilst it’s nice to hear a change of pace for twigs (and to, on occasion, genuinely hear her laugh), there’s not as much focus on experimentation and expression, which could disappoint some exacting fans.

A fantastic release, ‘SICK!’ pushes Earl Sweatshirt into a new chapter of his work, while adding further context to what has come before. The production work is impeccable, its dizzying imaginative flurry the perfect hinge against Earl’s lyrical precision. Short but emphatically creative, it presents an entire universe to explore, with its finer details laying in wait for repeated listens.

‘Covers’ feels refreshing and invigorated.

With a solid foundation of beats, introspective lyricism and a sharp pen at his disposal, Nas might be the only rapper to have two releases in the best albums of the 2021 conversation. Magic.

A work of subtle evolution, it’s a record that rewards repeated listens, with patience allowing these fresh elements to rise to the surface on an album that underlines Bonobo’s role as one of UK electronic music’s most consistent, and pervasive voices.

It’s certainly frustrating at first, especially if you’re expecting another dubstep masterpiece. But it grows on you given openness and attention – the kind of attention that Burial has earned through years of consistent brilliance. Love it or hate it, ‘Antidawn’ is one of the most unique releases you’re likely to hear in 2022.

Whilst it lacks the character and vivacity of its predecessor, ‘Dawn FM’ develops the latest reinvention of the Weeknd with its dramatic instrumentation and refreshed view of the world.