So long as you can tolerate the musical hopscotch that a Barry Adamson album always represents, Know Where To Run is probably as good an introduction to this peripatetic musician as you're ever likely to need. Just make sure to expect the unexpected.

More than simply a side project and definitely not just a collection of cast-offs, Oddments Of The Gamble is a remarkably cohesive listen for something assembled over time and without restrictions.

A return-to-roots record that works most successfully when it rebels against itself, Jamie T's vision of revelation isn't something to be easily shrugged off.

It must be said that a few of the dance mixes will sound a tad repetitive to modern ears, but what really proves fascinating is the melting pot of influences on display.

A Humdrum Star feels like a step beyond the precious experiments of their opening records, a concise and complete statement that defies categorisation and reinforces the vitality of UK jazz at this moment.

Haiku Salut use instruments as a tool to tell stories, and the band’s emotional gravitas is symptomatic of how this type of music can triumph against all the odds.

Sinking Into A Miracle isn't for everyone, and it isn't meant to be. If you want to escape down a rabbit hole of enchanting electronic orchestration then this is just the ticket. If not, then maybe give this one a miss.

THE S.L.P is safe. It’s the untainted evidence of a missed opportunity. Frankly, someone of Serge’s caliber could have plunged deeper into the void of sonic exploration. There’s always a next time.

More. Again. Forever shows a band who insist on exploring, learning and get closer to the truth about life and human existence, and there is just no way that this can ever, ever, be a bad thing.

With their modest personas and its subtle production, it could be easy to disregard dvsn’s third record as more of the same, but repeat listens reveal a warm and unpretentious record, from an act confidently starting to evolve.

The first half of the album is particularly monotonous, with the one-man band fervently spewing similar hooks that show very little dynamism and only serve a purpose to maintain a foot tapping rhythm.

A beautifully crafted, nuanced record, bursting to the brim with ideas and not afraid to test the listener with its expansive sound pallet.

Caro’s debut album certainly shines bright and is beautifully off-putting in everything it tries, from its lyrics to its musicality. The effects on you, however, will depend on your ability to be challenged by the music you listen to.

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 very much a record that stands on its own two feet. These are excellent songs. Not only that, but given the isolation and anxieties of life in 2021, it’s easy to find commonality in these tales of hope and strength amid troubling uncertainty.

Overall, the album is a tour-de-force bound to leave the listener nostalgic for warm, sunny times with an inherently groove-focused, genre-bending sound.

Neil Young is also isn’t accompanied by anyone. He’s just has his guitar between himself and the audience. Its wonderful to hear. And this is why ‘Royce Hall 1971’ is a remarkable album. Yes, we’ve heard all the songs before, but not quite like this.

The interplay between Young and Promise of the Real is great and dare I say, they somehow manage to out ‘Crazy Horse’ the actual Crazy Horse. This is a greatest hits selection worthy of Elliot Roberts’ 50-year friendship with Neil Young.

Peppering the underground with some of its most influential cuts, each new project has taken him closer to his goals – hell, he’s even nailed a Grammy nomination. ‘$oul $old $eperately’ works emphatically to bring these elements together and push them to a new level.

Lashed with swathes of distant bittersweet nostalgia, the record dabbles with elements of funk, electronic, indie and pop to form beautiful airy vocals and infectious guitar melodies, punctuated by rolling drums, through to delicate folk tracks which demonstrate the breath of Constance’s lyrical prowess.

An artist who continually confronts his own emotions, ‘Permanent Damage’ finds Joesef heightening his intentions, and magnifying his aspirations. He’s manifesting pop greatness, and few would bet against him.

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.

Soon to be household names, Coach Party refused to be pencilled in to one genre, but still managed to retain consistency, coherency and identity on their debut record, a feat rarely seen – so keep an eye on them.

The thematic string throughout ‘WEEDKILLER’ is extremely present, the messages bold whilst never sacrificing the integrity and quality of the tracks.

At times the lyrical component can leave you cold.

The Portland-based psych-rock outfit’s second album is an absolute triumph.

Now, they’ve unveiled their eighth collection of poetically punky musical works which carries their fresh momentum to expansive heights.

The album’s lacking that one standout moment to make it a truly transformative experience. Still, the scope and ambition are to be applauded, and it’s a treat to take a voyage around his mind and beyond.

This is an album that deserves big headphones and large sweeping views of grey coastal days.

Employing a dense rack of synths, the opening tracks establish a slightly chaotic fug that the record gradually emerges from. And, once its found its feet, the album treads a pretty glorious path.

M.I.A.’s most consistent work since her debut. ... Yes, her myriad ideas are still tumultuous, but there’s precious few other musicians out there attempting such an ambitious and impassioned collage of words, rhythms and concepts.

It's an optimistic, romantic and frequently lovely record.

That this is both Beirut's deepest and most instantly enjoyable album is obvious.

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

Deranged and balefully bleak.

Instead of throwing perspective on her fears, anxieties and problems and helping to alleviate them, that context and duality only amplifies them. They become her, and she becomes them. ... ‘Hurt A Fly’ is one of the more optimistic-sounding songs on the album, but even its hopeful tone is laden with the threat and/or promise of everything crashing down. The tender strains of ‘Pass’ also offer a glimmer of hope, but one that, inevitably, eventually burns out and turns to dust.

SBTRKT’s signature sound, which defies genre boundaries and pushes the boundaries of popular music, continues to shine on ‘The Rat Road’.

A record worth savouring, it sits alongside NewGen R&B talent – step forward ChloexHalle, we see you Kiana Lede – while retaining that classic touch.

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’.

On the surface, a hyperpop post-punk album should never work. But somehow, by some distorted miracle, Courting pulls it off – in the best way imaginable. In a landscape of so many albums regurgitating overbaked sounds, Courting have redefined guitar music. Instead of using the guitar as a songwriting tool, they use it as a weapon.

‘Portrait Of A Dog’ offers up a compelling glimpse into Yano’s chimerical interior world, deftly and sincerely, unfurling memory after memory without devolving into, and getting lost in, syrupy sentimentality.

Despite having to navigate different kinds of losses to get to this stage, Tucker and Brownstein have emerged stringently triumphant, their bond stronger and more unshakeable than ever.

It succeeds in bringing a 90s aesthetic kicking and screaming in to the 21st century, shedding the nostalgia in favour of contemporary pop pomp, all delivered with Jim Adkins’ trademark optimism and heart-on-sleeve lyricism.

It’s a more grounded and less airbrushed exploration of identity than we might be used to from Hannah Diamond, but one that counteracts an era increasingly obsessed with the perfect image and the false promise of forever.

His drawled, out of focus mumblings drawing you in unavoidably to the patchwork sonics, and though the album can be a little overwhelming on first listen, repeated plays reveal an irresistible talent.

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.

An album of stunning ambition and outright defiance, Everything Not Saved Will Be Lost Part 1 rips apart everything you know about Foals, a bold transformative work, as inspiring as it is urgent.

There’s a wonderful rawness to Porter’s vocals, confronting his troubles of the past with his blossoming musical pallet.

Living up to its title, Phantom Brickworks proves a spectral set, a fragile sounding record that confidently conveys the intent of its creator. It may not win him any new fans, and old fans may even be puzzled at the lack of sunny beats seen on last year’s ‘A Mineral Love’, but it still stands as a great escape for those who like to get lost in sound rather than riffs.

All this does is reassert the effortless, enduring power of those original pieces; find the originals and save your pennies for the forthcoming Carpenter tour.

'Ordinary Man' is far from perfect, but all Ozzy Osbourne's solo releases tend to reflect their creator's flaws to one degree or another. It does, however, absolutely succeed on its own terms, serving its purpose by reminding the world just what we'll miss when this titan among titans finally departs us for good.

The act-to-act cohesion is seamless, as is the recreation of rigid techno militancy, and should be met with at least one bouquet brought to the stage.

Impactful and often unexpected, ‘PUNK’ breaks new ground within Young Thug’s identity.

‘Beautiful and Brutal Yard‘ sees the Uju Militer remind us why he’s so adored. ‘Intro’ finds Hus sounding rejuvenated and full of new source material.

A singular, precise, and continually inviting experience, Clean finds Soccer Mommy reaching a new level of artistry, using her earlier releases as a bedrock to support her ambitions. A marvellous debut, it’s truly something to savour.

Call The Comet doesn’t quite reach the heights it sets out to, as the execution on some tracks falls flat despite some interesting ideas. That being said, there are enough moments throughout the record to remind you that the Marr magic is alive and well.

HOLY FVCK serves as brilliant proof of Lovato’s hard rock capabilities. Lovato suits hard rock, those vocals absolutely gorgeous when paired with a sturdy burst of heavy soundscapes. While Lovato can knock out a summer-ready banger, it’s equally as thrilling to see them lurking in the shadows.

It again boasts a plethora of instruments and will likely remind fans why Belle and Sebastian are so great at what they do.

A bold, tremulous feat, Sucker Punch will leave you floored.

It’s a fairly middle-of-the-road indie record. It could do with a little more depth, a little more humanity.

The variations aren’t as wild, but that doesn’t mean you don’t notice them, the Glasgow zeitgeist keeping things moving as a supreme technician (ever the perfectionist, this final cut apparently took five takes).

It’s an unabashed pop record that anyone should be proud to play at full volume.

‘The Land, The Water, The Sky’ is an album to savour, to go back to again and again to either get a greater understanding of what she is imparting and to find a new melody you missed the last time.

There is a heady optimism to the album. Instead of claustrophobic soundscapes, Lake has built elegant drones around pockets of space that allow the songs, and listener, to breathe.

‘World Record’ is a thrilling ride through some admittedly familiar pastures. But then, perhaps that simply underlines how potent Neil Young remains, and the increasing resonance of his eco-politics.

It's a more mature record, one that keeps the energy of its predecessor and filters it through new sonic filters. Thanks to its subtle mix of styles there's a timeless quality, the sound of freethinkers finding their feet in a very weird time. Get on it.

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.

All the usual suspects are in place as you would suspect from a band with, let's be honest, not that many hits of the great variety.

While his distinctive voice and keening melodies are as enchanting as ever, Wilson has added a cinematic heft that neatly avoids being saccharine.

The beautifully crafted fuzzy rock record has sonic concoctions that could have easily been taken from the best 90s and 2000s teen movies; not only does it serve its purpose of self-acceptance and healing, but it also further solidifies Laus’ place in the industry as a formidable, agenda-setting songwriter.

Yet American Football sounds like nothing that’s come in the last 16 years, or the last two for that matter.

Successful forays into synth-disco (‘Look At Your Hands’), slo-mo new wave (‘Coast To Coast’) and hymnal R&B (‘Home’) rescue a uniquely energetic, smart record in danger of over-saturation.

Bloom oozes simplicity, honesty and contentness. It will be a welcome sound of summer for 'Teen Dream' fans, but don't expect anything too radical.

He seems to explore his craft, experimenting with electronic instruments throughout each track, yet stays close to home.

Packed with personality and innovative sounds, this is an incredibly strong release.

The Bride is a stellar soundtrack to the complexities of womanhood within the institution of marriage, a triumph of raw intensity.

[Seeds is] not up there with its makers’ very best releases, but a welcome indication that they still absolutely mean business.

Ape in Pink Marble doesn’t do anything innovative because it doesn’t really have to. So go ahead, Devendra, celebrate.

Tessa Murray's voice is gorgeously fragile and the backdrop will lift you out of encroaching grim winter evenings.

Fionn’s great rocking out and full of energy, but here, just voice and guitar for most, he’s just so listenable.

This is a beautifully blissed-out record, coloured by minimal rhythms and Lewis Rainsbury’s isolated vocals.

‘Girls – The 2nd Mini Album’ demonstrates an advancement of aespa as artists. It has solidified the group’s creative intentions whilst also illustrating their ability at owning other concepts.

Sure to be a hit with the disenfranchised, give the man a single bulb to perform under on stage and fans will be riveted.

The pace is infectious and small helpings will sweeten your day.

It’s studied, sure--these guys are superbly technically proficient--but never is the fun obscured by fretwork pyrotechnics.

The band's strengths are here in abundance, but they are reimagined, twisted into new shapes and given a visceral intensity that is utterly irresistible.

Boxcutter flirts competently with funky house ('Zabriskie Disco'), UKG ('Moon Pupils') and even mid-'80s funk ('TV Troubles'), all showcasing his deft and malleable production styles.

This mature, experienced point of view on the nation’s favorite pastime is bound to rock clubs this summer.

Live in London see as duo with chemistry stronger than ever. Let's just hope their busy schedules make room for the long-rumoured movie. If their past work is anything to go on, it will be gold.

By tweaking the American seasoning in their long-simmering stew of English folk, Smoke Fairies have finally delivered on their early promise to create an album you can truly get lost in.

Held together by a singular sense of purpose, ‘The Feminine Divine’ is at times daring, at others anthemic. Both puzzling and entrancing, it refuses to be hemmed in by past success, reaching out instead for new challenges.

Ritual Union is the rich vindication of Little Dragon's slow burning upturn.

There’s a vision and attention to detail here that’s led to an decidedly individual record that, like a new love, shares a little more with you whenever you spend some time together.

The music has stark contrasts that work well to portray the emotions of singer Jim James.

Multi-Love undoubtedly reveals Unknown Mortal Orchestra's willingness to reinvent and innovate, yet it's still beset by some of the difficulties that have featured in their previous work.

For all its touching and personal lyrical matter, Next Thing undoubtedly boasts improved production and more developed song-structures, as well as a more fluid use of warm synths and punchy snare drums.

This album is a rich Norwegian delight.

As a whole, Breaks & Bone is a little samey, but as a showcase of one of Glasgow’s finest musicians, it’s a gem.