The music lacks the meditative quality of similar works like those by Philip Glass. In place of this, tracks like ‘Sunshimmers’ and ‘The Amazon: The Highlands’ produce a warmness that makes the album an agreeable experience, an experience that does not ensnare the listener’s attention.

The intuitive, steady flow of writing in the studio means that the record can lack form. And yet, despite some generic meandering, none of the productions come across as derivative.

The plethora of guest vocalists (J'Danna, BIXBY, Okmalumkoolkat, Heavy D. & the Boyz) means things stay relatively fresh, but more often than not, it's not enough.

Forest Swords was already becoming quickly respected for his deftness of touch when dealing with both musical and emotional tone. Compassion demonstrates he is very capable of weaving them together until they are intrinsically entwined.

Dedicated is a joyride of anthemic melodies and fist-pumping bangers that see Jepsen at the top of her game. Revolving in a shimmering cloud of ‘80s synth, bouncy bass and progressive percussion, she has certified herself as a serious contender in the pop arena.

This release feels like she is fully embodying her own skin – this is a release that aims for timelessness in its own right, allowing the true, unfiltered Miley Cyrus to step into the sunlight.

Dedication will raise more questions than provide answers. Exactly the 'out of the palm' manoeuvre Zomby wants you to eat from.

Creating a whole performance rather than unrelated pieces orbiting one another, Arcology is an adventure--not something a lot of albums can lay claim to.

An unpredictable force who is unafraid to speak the truth, Lupe Fiasco merges the modern with the classic for another powerful project.

Another truckload of ear-boxing drum kicks and chunky basses offer the same unflustered technicality and stewardship as Unbalance.

Yes, the album title is an apt one; but despite its predictability, it proves to be surprisingly fulfilling as a run-of-the-mill house album.

An album of consistent high quality and endearing personality, Petals Have Fallen might have missed the deadline for a 2014 Mercury Prize nomination, but with ‘Dead’ and ‘Everybody Down’ making this year’s list, it’s worth popping a tenner on this exceptional LP matching their shortlist status in 2015.

Avoiding easy cliches that exist in this universal experience, Claud brings humour and light to what could have easily been a reproduction of any Adele album.

Much more than a simple retro retread, it bursts with life and invention, fuelled by the clear joy of the central ensemble.

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.

Much like Philadelphia’s Hop Along the group have managed to infuse occasional explosions of guitar with an emotive heart too often missing from the scene. It’s big, it’s clever, it’s Big Thief.

It takes something to stay true to the original ‘Who-ish’ sound after 50 years in the game, but unlike so many others, this time they’ve managed to do so with impeccable form.

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

Cloud Nothings’ best work to date.

Dedicated to Bobby Jameson offers an enticing preview, delicately ebbing and flowing between irreverent pastiche and tender melancholy, and in the end striking a balance that makes it one of Pink's more accessible and immediately gratifying records in recent memory.

Remaining difficult to pin down even after several listens, it platforms a true artist whose creativity isn’t about to be hemmed by the marketplace – he’s got higher goals.

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.

Haim neither flinch nor blush in their directness and neither should you in enjoying Days Are Gone for what it is: unabashed fun.

Although weaker tracks are covered up by pristine studio trickery, No Blues is consistently infectious and edges the band closer to mainstream territory.

Unfortunately their laudable desire to sound like the future rather than the past seems to have backfired, leaving ‘Paradise' a crop of good ideas that wear quickly on the ears. On the plus side this overly polished sound might help convert at least a few godforsaken You Me at Six fans onto real punk (that is, if real punk will have them).

‘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.

The album might be inspired by grey and harsh reality, but it doesn’t go the obvious route with slow-burn and somber-toned tracks. Instead, ‘Pure Luxury’ still remains anthemic and rave-worthy with its vibrant rhythms—the tracks just happen to have deep lyrics.

The sound of a band pushing forwards, ‘Endless Arcade’ points to a bright future for a much-loved institution.

‘Cry Sugar’ may take the cake for dance record of the year; that lighting-in-a-bottle moment we’ve all been waiting for.

‘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.

The production is absolutely masterful. The conviction is assured; the weightiest of subjects: that of 'life' and 'death' are tackled and shackled by Zola exper

The party standards are present and correct. ‘Mamma Mia’ is as dizzying good and gay as you’ll get, the aural equivalent of downing three bottles of pink fizz in an Uber with Magic FM, getting pissed with your pals, on the way to the best night of your life. ‘Waterloo’ crashes in on glam-rock drums, a pantomime dame in silver thigh-highs, as she battles and bosses that irresistible chorus. ‘SOS’? Not even going to talk about it. It’s a double-dunt of serotonin; a sure-fire cure for sadness.

Sure, there’s a few lyrical clunkers on show, but taken as whole ‘E3 AF’ finds Dizzee Rascal navigating the perilous landscape of 2020 with remarkable assurance. Few other UK rappers can genuinely say they’re making some of their best work 20 years in the game.

A captivating, at times unexplainable reaching of pained highs and battered lows.

With production by Richard Goettehrer, who has worked with Blondie, the Go-Gos and others, sees the Dum Dum Girls sound achieve an authentic, balanced sound, deliberately lo-fi and tinny yet listenable and intoxicating.

CULTURE may be limited in its scope, but it delivers in spades everything one might have hoped for from “the Beatles of this generation.”

Overall it's a big nostalgic slice of deliciously moreish hip-hop pie.

This is wonderful stuff, haunting neo-folk ballads of a gold standard with undulating saw synths punctuating throughout.

It seems as if Novelist made the album he wanted to make, despite the external pressures, and gave us a project which is sonically, socio-politically and unapologetically grime.

Bouncing with tastefully witty track titles, fizzing synths and mechanic beats, Family Of Aliens perfectly encapsulates the sound of 2018.

With this seventh album the band have managed to craft a hard hitting and forward thinking record that fuses more traditionalist elements of rock with sounds from genres currently dominating cultural conversation.

‘Covers’ feels refreshing and invigorated.

Claud’s ability to create earnest, anecdotal songs ensures ‘Supermodels’ is not just a queer-pop triumph but a universal one.

So yes, different to "Made In The Dark" but a more cohesive and more heartfelt effort too. One Life Stand sees Hot Chip let us into their hearts as well as their thoughts.

Refining rather than challenging their boundaries, Fucked Up reconnect with the sounds that first set their pulses racing. Glass Boys is a gloriously savage return.

Clocking in at almost 72 minutes, Sukierae is a bloated, if lulling, listen.

[Gloss Drop] is one of the most startling, visually emotive albums we've heard in years. Vividly audacious.

What will keep you coming back to Film Festival is a profound desire to dissect further, to unpack the lyrical and instrumental proficiency to such a degree you feel so in on the joke that Mike and Paul aren’t just collaborators and flawless music makers to you, they’re friends.

With this, Ghostpoet has created another fantastic, authentic body of work, meeting those high expectations.

At times you wish their sound was edgier, that they'd go in the direction of their zanier peers Hot Chip and BadBadNotGood. Despite that minor criticism, their unique, funky take on pop is rarely less than fascinating.

Stepping out of the shadows suits her after all.

An astonishing debut from an essential new band.

The Yard Work Simulator may not be everybody’s cup of tea to listen through from beginning to end, but as a piece of work it is more unique, exploratory and interesting than many others that will be released this year.

["Night and Day" and "Flutes"] are glimmers of liveliness on an otherwise decedent record.

A special album from a special artist, Nepenthe is, indeed, an album that leaves thoughts of others absent as it plays out its otherworldly dance.

A shift away from the sampling of his debut, Underneath The Pine keeps things sweet and traditional, leaving you lazily grinning from ear to ear.

Raw Money Raps is an exciting audible adventure into progressive hip-hop.

‘Things Take Time, Take Time’ sees her breaching into a new territory while still residing in the safe net of her previous sound, making it an album to introduce her to a new audience and a pleasing one to entertain her already exciting fanbase.

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

I Used To Spend So Much Time Alone sees the Seattle group recede deeper into their comfort zone with a batch of tracks that are lukewarm at best.

This is savvy, intelligent music.

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.

The band’s approach to music-making has always been as eclectic as their references, but generally they’ve stuck to one approach per album. Unfortunately this is where Home Counties comes a bit unstuck. There’s quite a lot going on.

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.

‘The Loneliest Time’ feels a far cry from the saccharine star that launched Jepsen’s career but proves her musical pliability.

Freed from self-imposed musical constraints, ‘Field Music (Measure)’ is big, bold and beautiful.

A fantastically uniformed piece, Dark Days + Canapés boasts a rare sense of unity, the aural palette bringing together hugely disparate elements to conjure something of real impact.

Ultimately, the album’s highlights are those songs where the voice and sentiment we hear is truly her own, the enthralling, stirring, emotion- manipulating voice that’s threaded its way through every album since her 2006 debut, not the voice that leans too close to what the pop music machine demands.

The majority of its songs clock in under two minutes, but Earl is able to pack so much into the short amount of time that most tracks warrant multiple listens.

This is written by someone who’s a kid right now, about what it is to be young right now. Consequently, this isn’t a “you” and “I” album. It’s a “we”, “us” and “them” album.

Haines’ singular vocals have always been the band’s not-so-secret weapon, and it’s here [on ‘Enemies Of The Ocean’] where they shine greatest, jumping from hauntingly beautiful to full-on rock goddess mode. However, much of the rest of the album just goes to highlight how it’s a game of two halves. You could literally compile a list of the numbers that are over five minutes as the standouts and ones under as pedestrian.

Cerulean Salt isn’t boundary breaking, but it possesses qualities enough to leave one charmed, if not consistently captivated.

Big, bold, invigorating stuff.

In a way an ideal sequel, but it’s a missed opportunity to find out more about the man.

On Ignorance Is Bliss, Skepta is back with a renewed hunger and sense of purpose, overcoming a new set of challenges and proving once again why he is a grime mainstay.

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.

A vital, thrilling affair, it ranks amongst the best of his solo work.

Sad, contemplative and euphoric in equal measure, The Most Lamentable Tragedy is a true triumph.

Despite the overarching quality of the album, its continual, dirge-like range of instrumentation can become a little stifling and songs risk blending into one another.

The brevity doesn’t downplay the creativity. A stunning four-track feast, the only downside is that we don’t hear more from such a formidable cast.

It’s Buzzcocks-goes-Daniel Johnston, with a little Guided By Voices on the side, erudite and desperate, and everything mentioned above and yet a lot, lot more. And it’s a pleasure to share it, and them, with you.

Hyper, aggressive, silly and just-bloody-gorgeous, it's a perfect microcosm of the album as a whole.

In 'FLOWERS for VASES / descansos' Williams belts the stapled vocal range she’s praised for in notable tracks, ‘All I Wanted,’ ‘Feeling Sorry,’ and ‘Ain’t It Fun,’ and completes it with comforting acoustics, simplistic key work and alluring songwriting.

While ‘Glowing In The Dark’ isn’t their strongest album to date is it their most accomplished. The wonky fun of their debut has been replaced with slick productions and the songs just sound amazing for it.

It’s an album that Beths fans will doubtless like very much, and it offers a strong mission statement to the future that this is a band hungry to expand and determined to explore the hitherto untrodden ground. It’s just a shame that, on this project alone, they’ve not delivered anything of career-defining merit.

An early contender for album of the year.

This is cheap theatrics masquerading as inspired art.

From ‘cover art’ to core, it might seem the listener is last on his list, but this is just classic reverse psychology. The less Dean Blunt cares, the more we do.

Post Malone still provides us with a sprinkling of the classics: bitches, butts and Millie on wrists, it’s appeasing. But for the most part, he created an insightful and eclectic record which is a testament to his versatility and willingness to do exactly what he wants.

She’s perhaps bringing the sweetest voice so far to Hyperdub.

Cat's Eyes is an impressive first outing full of sensuous dreamy atmosphere. Worthy.

Nutini reins in the melodrama, and Caustic Love is testament to that restraint.

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

For first-time listeners the distinctly compilation nature of the record could prove disorientating and less rewarding a listen than any of Olsen’s singular, more complete albums. But that’s generally the case in any rarities album. For fans of Olsen's work this is a treasure trove of lesser known recordings that capture the artist in a period in which her sound was ever-evolving and progressing.

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.

Flawed but unbowed, it is a fascinating but frustrating listen.

A broad, diverse and enriching album, the ten tracks which make up Culture Of Volume are each distinctive but seamlessly connect and click together to produce a piece of work that will both delight and enthral.

That a record so dark and ripe with nuance can also harbour such blatant pop sensibility belies the duo’s young age while serving as a testament to their rampant eccentricities.