It’s immersive and ambiguous, these tales belong to you as much as they do the person next to you on the train.

The songs have been reinterpreted and elevated by Khruangbin’s sonic retexturising and takes the listener through a technicoloured journey of Ali’s most-loved classics and B-sides from his extensive catalogue.

‘Drunk On A Flight’ strikes the perfect balance between up-beat, angsty pop and more contemplative jazz ballads. It marks a distinctive shift in Eloise’s songwriting, simultaneously maintaining the timeless charm of her early music that made her so popular, whilst constructing an ode to classic pop.

It’s evident that with ‘Yummy’ that the band’s appetite for creating music remains unsated and it sees the band at their most creative and progressive, delivering an impressive and thought-provoking body of work that can easily be ranked as one of their best.

The album’s snappy 10 track run-list positively invites further plays, perpetuating this desire to keep the cycle going.

The album’s first half sees Taye relish the experimental nature that first drew him to the scene, and to its defining Teklife cohort. When it works, it’s weird - but it definitely works. ... The latter half of the record serves a more straightforward (if such a thing is possible) footwork rinse-out. And it sings.

‘Possession Island’ aside, this is an energetic, upbeat, genre-expansive collection that ranks alongside Gorillaz’ best work.

It's another touchdown for the guitar heroes, one we suggest cranking up loud and enjoying in the spring sunshine.

Compelling and absorbing, The Take Off is a rich and rewarding record.

‘Prize’ fully submerges the artist into a unique, eccentric, psychedelic style – allowing her to fully embrace various influences and detach her art from confinements that previous albums may have established.

Charli is no doubt an album of too many features and too many parts, but it somehow all fits together in a way that allows her penchant for unconventional songwriting and her ear for an exciting melody to work in concert, creating a project better than most anything she’s done in the past.

It's almost a back to basics approach.

Night Thoughts is far from easy listening, but it's further proof that Suede's renaissance shows no sign of losing momentum.

A world of distortion and contradiction, blood and venom, ‘If I Can’t Have Love, I Want Power’ is a singular statement, one of extreme power.

‘The WAEVE’ being a unique experience, bathed in a bold richness and brilliantly indulgent productions.

{Awayland} is just brilliant.

There’s gorgeous, candid song-craft at work, ‘C’est La Vie 2’ urging that “they say that love is easy if you let it be”. That self-reflection runs like a golden thread, particularly on the woozy ‘These Rocks.’

Ripe with subtle nuance, Fading Lines is an exquisite debut. Seemingly simple yet running far deeper than cursory listens reveal, it’s a record that sticks with you long after the closing notes of the aptly titled ‘White Fuzz’ fade out.

By the time the record comes to a close, one thing is clear: ‘Traumazine’ is a deeper excavation of who Megan Jovon Ruth Pete is. While the glossy persona of “That Bitch” Megan Thee Stallion is able to roam free, introspective uncertainties linger beneath the surface. ‘Traumazine’ abounds in empowering affirmations but, beneath it all, this is a release that starts to unpack Megan the human.

Yes Lawd! is a feel-good album that isn't afraid to take a step back and reflect. NxWorries brilliantly capture the sense of being carried by the whirlwind of success--disorientated and bewildered but enjoying the ride regardless.

It's as personal an album as he's ever written--more than just an amalgamation of the band's previous work, it is perhaps the purest distillation yet of everything that makes them who and what they are: rewarding, confusing, joyous, heartbreaking, immediate and profound, all in one.

The band clearly dug much deeper and as a result they created bigger sounds than before. It can be seen as the positive impact of a collaboration that has lasted more than twenty-five years – even though drummer Janet Weiss recently decided to leave the band. Maybe the centre really cannot hold.

Twelve years after their formation, the East Coast five-piece have created their finest album to date.

Production is loud and punchy and even the quiet bits aren't quiet, which makes all sixteen tracks in one sitting a bit like hard work.

‘Playing Robots’ finds Blake not quite knowing how to juggle all these facets of his personality and throwing them all at the wall. There are flashes of gorgeous phrasing, incredible textures, and welcome experimentation, but the album is also completely all over the place. Still, Blake remains undeniably talented as a singer, songwriter and producer.

Some listeners may find fault in the looseness with which the mix is put together and the unexpected results that the track pairings create (see the transition from the heavy rhythms of ‘Nocturne’ to the Craig David-sounding vocal samples of ‘So It Seems’, or the unashamed ‘70s funk of ‘Vs’), yet it is in these very moments that Snaith’s creative bravery and vision come to the fore, subverting t

The biting nostalgia of middle age runs throughout the lyrics and the band’s desire to produce something akin to ‘Automatic For The People’ is largely fulfilled.

‘Serfs Up!’ is initially impenetrable, but persistence is rewarding as the band sucks you deeper into their tilted netherworld with each listen. It’s by far their most interesting work to date.

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.

‘Welcome to Bobby’s Motel’ is a superb, lovingly crafted set from a band who have clearly done their homework.

A far darker piece than her debut album, this is a downbeat yet profoundly affecting second act.

For most of its running time, you won’t want to move anywhere, either. Maybe don’t stay that way forever, but frequent returns to Ruins in the coming years are guaranteed.

An album of summer anthems this is not, then, and its collision of sorrow-tinged dreaminess and ethereal symphonies ensure it’s not just good wallowing material, but good material full stop.

With Love Keeps Kicking Martha have delivered 11 brilliant sketches on modern life and all the bullshit that comes with it. Sure, some days are hard, but there's still plenty to celebrate. Like an old mate lending a sympathetic ear, it's a record that helps remind you we're all in this together.

It’s energetic, diverse, raw and full of the forward- thinking chemistry and cool that The Kills are notorious for.

With ‘The Spiral’ acting as a key moment, a fusion of individual voice and collective endeavour, it’s clear that his journey has only just started.

Overall, ‘The End, So Far’ is a remarkable punch of sharp, sobering heavy metal. Slipknot yet again thrive in their signature darkness – however, there it no doubt that this album would be elevated by more cohesion.

With fluidity and ease aplenty, the ten songs on ‘The Universal Want’ render a soulful, elevated journey visiting outer and inner locations, providing the listener with a sense of fulfilment.

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

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.

Some may find 'Visions' consistently eschews the same ground of super slick, layered vocals over chrome digital structures but this reductive palette of sonics hears the album fly towards its peak of 'Nightmusic' - a collaboration with Majical Cloudz that is camouflaged electro pop that'll keep you muttering for months.

The end product is another outstanding record, executed with fearlessness and grace.

An effortless blending and renewed celebration of genres like punk, new wave, techno and hip-hop is all made possible with the inclusion of long time Trainspotting favourites Iggy Pop, Blondie and Underworld and extra additions in Queen, The Clash, Run DMC and Frankie Goes To Hollywood.

Soundgarden moved admirably forward with a strong new L.P, and while the performances missed some of the vitality of their youth, they still were able to invoke a tone and vibe all of their own.

Combative, empowering and unashamedly fun.

With the high energy psychedelic haze that metamorphosises around anything this band touch, their exploration of complexities forever surprise.

Subtitled ‘An Electro Revival’, Richard’s sixth album is nonetheless a sprawling affair; R&B, house and trap jostle alongside curios such as ‘Le Petit Morte (a lude)’ [sic], a break-up jam unexpectedly belted out over Beethoven’s ‘Moonlight Sonata’.

The whole record feels like a big sigh, a huge outpouring of personal tracks or long running loves that she’s finally able to release right. ... If there’s one criticism 'Blue Banisters' will draw, it’s that it’s the same old same old in its sonics. Playing the same chords and singing in her same tone, this might be one piano ballad too far for less lyrically-inclined listeners.

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

With a distinctive sound that's certain to have mass appeal, this teen troubadour is set to smash it.

It will be fascinating to see where Clark goes next, but in the meantime MassEducation is better than it needs to be, and an interesting reflection on a career defining record.

Enter Shikari have the tools and drive to create something potentially mind-blowing, it’s just that they fell well short of the mark on this occasion.

Just like all the very best albums, I Tell A Fly is by turns thought provoking, musically challenging and genre defying but perhaps more importantly, it imbues a sense of uniqueness that suggests you can’t imagine anyone else making it.

It’s a record that captures the anxious state of the world and shows a more fragile Gaz Coombes, far removed from the happy-go-lucky teenager who wrote ‘Caught By The Fuzz’ and ‘Alright’.

Cheeky, subversive ‘I Saw The Truth Undressing’ seems to sum up this wonderful, enlightening record.

Easy on the ear it isn’t, but Slow Focus carves its name into the synapses nonetheless, like some sort of unstoppable, power-electronics ‘In Utero’.

The band tracked everything live (apart from the odd overdub) and have crafted an exhilarating, hedonistic modern psych album that means the album doesn't just pay homage to a lot of the great influences mentioned, but sounds just as good.

Despite its meticulous and grandiose instrumentalization, this record is Nandi Rose’s 'Camelot', a masterclass in her own interpersonal gut-wrench, where she has finally figured out how to build a wall of sound that compliments her breathtaking vibrato.

A nine-track opus of gorgeous musical exploration on their own terms.

This might not be as an essential album, but it’s one that definitely requires your respect and an hour of your life.

‘Tableau’ sees the The Orielles venture into the unknown, with the sole ambition of testing their limits (or lack thereof). They succeed, resurfacing with new vision, and setting an example of what can occur when artists have the opportunity to revel in full, untethered, boundless creativity.

With ‘In Times New Roman…’ Homme and co. have crafted a darkly seductive return, an intoxicating psychedelic record that drips with equal parts malice and renewal. It’s good to have them back.

It’s refreshing to hear something different and altogether more interesting from a slighter older but no less exciting name.

As a whole, ‘Loss Of Life’ deftly balances the ability to appeal to the hardcore fans who have stuck with them, all while winning back the hearts of those who may have been lost along the way.

‘Wicked City’ is just a tiny slice of what’s to come, leaving a super sweet taste in our mouths.

Imperfect, but still as absolutely bloody essential as the best of Fugazi always was.

The cartoon-ish vocals are still there, but Iglooghost isn’t trying to show off, or impress us, with his skills. Instead, he has created his most inventive, personal, and tender album to date.

All dark atmospherics and empty space, Jaar’s spectral production for collaborative project Darkside creates the void where rhythm, and seemingly time, are allowed to infinitely float on.

Framed by ‘THE LIGHT’, the record is cohesive, punchy, and succinct.

The LP is consistently engaging: a solid rock 'n' roll album crafted by a bunch of talented musicians finding their feet--and sounding like they're having a damn good time in the process.

The songs are well written with glorious instrumentation. Hansard is the owner of, well, a decent pair of pipes and whether he’s singing, crooning, bellowing or whispering you feel the emotion in this voice. The downside to the album is, well, we’ve heard it all before. There isn’t anything new here.

Three decades after forming, hitting the reset button has unleashed this iconic duo afresh, demonstrating an insatiable ability to forge the perfect dance track, whatever the era. Go get your rave on.

This is the strongest project Drake since 2013’s ‘Nothing Was The Same’, and one that owes itself to sounds across the globe.

It sometimes feels a bit too quick, with most of its tracks coming in at or around three minutes in length. Overall though, hardly anything is forced and it all feels well presented and devilishly melodic.

Swanlights is less straightforward than his other records and more operatic. It's still astonishingly beautiful.

On Your Own Love Again is a timeless record by a remarkable talent only just starting to show what she can do.

She may not take life too seriously, but when it comes to making divine music, Beth means business.

All performed with good, non-satirical heart.

Unsettling, certainly, on more than a few occasions. But wonderful is the descriptor that sticks after so many listens to this entirely enveloping LP.

While that album was littered with features, seeing artists put fresh spins on their classic material, this project is completely stripped down in comparison with the sole features being from Lil Tjay and Mansa respectively.

Intensely relaxing, wonderfully addictive, and ultra-mellow, ‘Moredechai’ is this summer’s sunset record.

Wilson has a fantastic ear for the unexpected. Similarly, the timbre of ‘Mountains’ sees Wilson’s vocal blend like a true instrument. A woman strong in her practise, with little room for improvement. 'ALPHA' is Charlotte Day Wilson in 360.

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.

A bold and confident return.

‘The Price Of Progress’ is a perfectly functional Hold Steady record, no more and no less.

Brill Bruisers should finally see the band obtain the commercial success to match the critical acclaim they’ve accrued over the course of their last five LPs, as this is an almost perfect soundtrack to what’s left of the summer.

He might ramble sometimes, but his ramblings are like the songs of angels.

The innate desire of musical exploration of both artists is clear for all to see on Lux Prima; a complex but ultimately rewarding listen.

Across its sixteen tracks, ‘Chromatica’ is entirely over-the-top, but in the best possible way. Every song is an anthem of defiance and empowerment, turned up to 11 and genetically engineered for maximum danceability.

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.

Sonically and lyrically, Shura is at her most urgent and incisive.

This is electronic music both messy and menacing. Listen if you dare.

‘So Much (For) Stardust’s main takeaway is that the five-year wait was more than worth it and Fall Out Boy are finally back, bigger and better than ever.

This music really doesn't need any window dressing because it's as good a collection of songs as she has put her name to in ten years.

Alternative Light Source is a worthy successor to 'Rhythm & Stealth', not as sparse or hard hitting but brimming with energy, ideas and familiar Leftfield diaphragm-rattling bass.

The first few tracks revel in the heady days of a budding relationship, all stolen kisses and duvet-cloaked promises. But as the seasons flutter by the untenability of their situation gradually dawns on our two lovebirds.

Martha are everything you want a great pop band to be: students of their trade, people with something to say and the vocabulary to do it, a distinctively joyous sound and a grand sense of humour.

As with any Harvey project, the musicianship is of the highest, yet understated, order.