‘Forever Blue’ is a confident debut, one that carries the weight of experience beyond her years.

The Murder Capital offer authenticity, honesty and truth aplenty, it has already become difficult, if not impossible, to imagine a vibrant music scene without them and there is a sense that this album is only the beginning of their compulsive journey.

This compelling and provocative record is a haunting echo of a seemingly hopeless vignette of Britain today, where slowthai offers the slightest glimmer of optimism for a potentially brighter future.

Heaven leans into the cliché. It prompts us to think seriously about what it means for music to rescue us, sincerely, from the depths.

While it does knock out some definite singalongs, sprinkling in some fun hooks and catchy structures, there is something missing beneath the veneer of theatricality. This is an album that hints at complexity, but it is inevitably overshadowed by Urie’s one-man-show.

Beautifully produced and blessed with Guy Garvey in fine voice, it's a small but perfectly formed step forward.

As ever with this band, it’s sure to be an idiosyncratic but beguiling direction, although there’s no hurry with so much to pick over on this thoughtful latest outing.

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.

Whilst each track delivers exactly what is to be expected from an IAK album it is a little disappointing that there seems to have been no development from the previous outing.

A bold work of evolution, ‘EVERYBODY CAN’T GO’ utilises some fantastic production – notably from Hit-Boy – to piece together a seamless record, one that hauls his sound forwards into a fresh era.

A record that feels incredibly refined, ‘JAGUAR’ is an expert piece of R&B engineering, with each individual part interlocking perfectly. It’s a wonderful experience, with Victoria Monét’s stellar artistry balancing the sensuality of sound with a killer lyrical flair that aims straight for the heart.

In her haste to tell her story, ‘My 21stCentury Blues’ suffers from a frenzied second half that cushions the gut-punch it could have been.

It's unfathomably exciting stuff.

All the changes made to beloved tracks like ‘You Belong With Me’ and ‘Love Story’, simply make them shinier. Throughout the whole album, banjos are crisper, guitars are fuller, drums are heavier, and Taylor’s strong 31-year-old voice leads the music. Clearly taking care to not step over her 19-year-old self, all the changes feel totally natural, like they should’ve been that way to start with.

‘Companion Rises’ is an easy listen and utterly gorgeous with it.

Succinct and ultra-tight, ‘I Told You So’ clocks in at nine tracks, yet its breathless manouevres move from post-bop phrasing through to 80s stadium pop, somehow tying them all together with the effectiveness of their mission. A record that gets under your skin, the Delvon Lamarr Organ Trio are well worth tracking down.

A thrilling return, ‘I Don’t Know’ finds bdrmm breaking down the walls around them to claim a space of pure freedom.

Driven by crispy drum machines and shimmering synths, Lanza’s second full-length Hyperdub offering is instantly more direct and relatable than its predecessor; cloudy reverb is replaced by sheeny production.

A solid debut then, full of yearning and barstool tales.

It bursts with techno beats that jump wildly from deep and dark to bright and euphoric.

Ultimately, Salad Days is an aural testament to the old adage that there’s a fine line between genius and insanity.

Some of the riffs are quite incredible ('A More Perfect Union'), and the general effect of the whole album is that the listener will want to weep and dance simultaneously. Simply brilliant.

A brutally funny, scuzzy and lacking-in-seriousness affair, it truly is one of the most entertaining New York guitar albums of modern times.

For TNP converts this will no doubt be regarded as a masterpiece. But for the casual listener, it’s simply another solid 21st century ambient record to help while away the late hours.

Remarkable. ... The 12-track project explores the collapse of a marriage, financial turmoil, anxiety, self-doubt and self-care. A lesser rapper might sink in the mire, but Open Mike has always been dope on the mic, and ‘Anime, Trauma and Divorce’ find him at his best.

If you can cope with the extreme twee, Heartleap is a diamond.

Rammstein have resurrected to bring us their seventh studio album. And boy is it the record we’ve all been waiting for.

‘Broken Hearts Club’ - performed, co-written and co-produced by Syd – feels like definitive moment as the R&B mainstay truly settles into her solo endeavour.

It’s her vocal prowess that threads together the line-up of producer-du-jour types that feature on For All We Know. That, and the infectious grooves that dominate this album provide endless enjoyment--18 tracks worth, to be precise.

On the strength of this ballsy behemoth of sound, they're easily holding onto that crown while adding yet another shining jewel. 'Hushed And Grim' is a reminder of what makes the band so beloved while boldly stepping into a new chapter. They've never sounded so good.

All Our Gods Have Abandoned Us isn’t a sonic leap into new pastures, rather it’s the sound of a band nailing their sound and operating at the very top of their game. In a genre as crowded as metalcore, Architects have managed to craft a sound that’s instantly and recognisably Architects.

Whilst lyrically, it is a portrayal of insecurity and pain, sonically it is a bright, glistening piece of pop magic that merges the quintessential style seen on The Japanese House’s three EPs with new points of exploration that only increases the excitement around this enigmatic superstar-in-waiting.

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

‘Before Love Came To Kill Us’ has a number of strong tracks and is an excellent debut. Jessie Reyez appears to be in total control of this record and shows off her versatility, as well as her rage.

At times challenging, at others familiar and accessible, it demonstrates that 30 years after their debut album, Stereolab continue to surprise and reward, their unabating influence threading through every recess of left-of-centre modern music. Perhaps Stereolabesque is a fair term after all.

The record is the most realised and singularly minded vision yet from the Moor Mother project, a documentation of venomous rage, yes, but also one in search of a means of escape, one found through the redemptive power of community.

The only maturity in their sound is towards a more ambient quarter. Elevator music not quite, but rising out of the background might be an issue.

Fade finds YLT at their most wistfully contemplative; a thought only softened by the paradox that this might just be one of their best yet.

Heavy is the Head absolutely hits it out of the park. It’s the same winning mix of grime bangers and radio friendly singing as last time, but, crucially, it’s better at making sure they work together on the same project. 16 tracks might seem like a lot, but when almost every one is a classic, it’s so hard to care.

This album is, to be clear, an ambitious, stylish, coherent work of fine art. ‘Tranquility Base…’ grew on me, this may too. But I can’t help but feel that with ‘The Car’, Arctic Monkeys have taken a wrong turn.

It’s reality music, and while obviously tailored around the life and times of Shawn Carter, offers so many narratives that the common man can relate to in astounding measures.

A magnificent aural topography of Kaitlyn Aurelia Smith’s inspired imagination.

From ‘Stuck in the mud’ to ‘What you Reckon’, Digga D is quick and snappy, delivering lyrics that push you to listen again and again. With the confidence that knows he is a star ( he raps ‘I’m as hard as Stromzy and Dave, what a statement to make but I say what I say and I mean it’), Digga D proves he is greater than just another rapper. He is an icon.

There are some real moments of beauty on the record - 'In Blur' aches and sparkles, whilst singles 'Great Mass Of Colour' and 'The Gnashing' showcase a band adept at building beautiful soundscapes even with the guitars turned down - but at a certain point, the album suffers from the lack of depth in Clarke’s vocals, or range in his melodies.

Enchanting and illuminating, ‘everything is alive’ proves that Slowdive’s pulse is still beating strong.

Earl Sweatshirt is telling truths rather than forging fantasy, and Doris is a disturbed and penetrating journey into the mind of the boy that came back from Samoa.

[Gibbs] expertly negotiates Madlib’s minefield, forcefully popping words off the producer’s gorgeously mined snares and snatched vocal loops.

The 24 year old wrote, arranged and produced this album all by herself. The work of an immensely talented melodic mastermind, Laetitia Tamko's second album touches on the magical.

‘Cool It Down’ feels defined, succinct in a way that suggests complete confidence – it’s also a weakness. A smidge over 30 minutes, and with only eight songs, it already has you yearning for what might come next.

Clements and Griffiths have sculpted something truly special out of their final time with their friend and, while too late for all of the numerous lists, it deserves to be held up as one of the most affecting and impressive releases of a difficult year.

Romare sets out to bring in elements of his distinct sound from across his career always combining it with something fresh and invigorating. The fact that all of these elements come together into such an approachable and restrained album is quite impressive.

(04:30) Idler is his confident, self-assured follow-up. Sonically, Isaac appears completely comfortable in his slightly more refined new skin.

A testament to vehement artistry, ‘On Sunset’ finds Paul Weller refusing to let his fire dim.

Forceful and atmopsheric, ‘From A King To A God’ punches through the glass ceiling, its purposeful swagger leering out of the speakers. His third full length project in 2020, ‘Conway The Machine has hit escape velocity.

It’s contagious joy to hear players with such abandon and intuition, braiding their lines together.

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

Every track demonstrates a beauty in the everyday; in the mundane; in our reality. And combining such observations with the sweeping sounds of orchestral talent and acoustic guitar, the end result, of the combination of these juxtaposing complex and simple elements, is one that feels familiar.

‘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.

With ‘Layover’, V’s intentions were clear. He obviously had a distinct sound that he wanted to stick to, his vision clear inhabiting by his sense of self. The influence of jazz and R&B is evident and the execution is slick.

A straight-talking delight, ‘Gaslighter’ refuses to radically overhaul The Chicks’ sound, and that’s ultimately why it’s so successful. Retaining that fine balance between country and pop, it allows the three-piece space to be true to themselves, ably building on their storied catalogue.

Although the sound of the album is wide-ranging, it holds continuity through its lyrics and general sentiment. K-Pop after all is an inherently genre-blending style of music, so it’s no surprise.

2012 - 2017 is one hour and seven minutes of sample-heavy dance tracks--eleven in total. Those who are deeply inquisitive about music will have a field day on WhoSampled finding vocal stems from David Axelrod, The Delfonics and Kanye West. Those who aren’t interested in that will still find an album which has an instant impact as Jaar substitutes avant-garde dystopian techno with the most off kilter time signatures for something much more predictable.

Art-rap that refuses to be hemmed in, ‘LP!’ excels by tapping in to the rapper’s undoubted verbal virtuosity, while augmenting it with blistering production. Another triumph from one of rap’s true creative visionaries.

After the impulsive creativity of Logos, Parallax, by contrast, is a much more refined listen.

Rest assured, his remarkable voice and grasp of melody remain undimmed and while it may not sound exactly as you were expecting, it is a bold, distinctive and genuinely excellent record.

She embraces their words, often of death and reminiscence on youth, as if they’d come from deep within herself. It is, after 38 years, a fine reminder of her vital place in British musical tradition, as the essential elder stateswoman of folk.

This is an album that can make you weepy in the hazy blur of the wee small hours, and euphoric in the fuzzy afternoon sun.

Rather than risk nestling ever-deeper into their cushy role as purveyors of twee-approved, candied indie-rock, The Radio Dept. have opted for a collection of songs that is as decidedly unapologetic as it is cemented in political sludge.

The group feel more at home with the methodology of early prog or post-punk, with a sense of the abstract rippling beneath those crystalline waves of perfect sound. Shine on, you diamonds.

With tracks produced by Timbaland, Skrillex and DJ Mustard, Carey duly pays homage to the sounds prevalent at different stages of her career whilst remaining fresh and contemporary.

This is an impressive and well-rounded collection of work from the hard-working Australians.

‘Unfollow The Rules’ feels like a gentle stroll through the various stages of Rufus’s career; far from creating the impression of Rufus covering his own back catalogue, the effect is like a timely reminder of everything that’s wonderful about Wainwright.

It may spend a lot of its time reflecting on the past. But as an argument for that now famous district in South Los Angeles and its continued importance and centrality to hip-hop, it’s forceful and convincing, and one that ensures those Hollywood-style ‘COMPTON’ letters will continue to loom large--not just over L.A., but over this genre as a whole.

While it lacks the untethered aggression of past efforts, there’s a mean underbelly to tracks like ‘Beverly’ and ‘Howl’ that makes up for this.

18 thunderous tunes.

At times the production is marred by brevity and unevenness, which can make ‘BUBBA’ sound more like a mixtape in places. Thankfully, these moments are outnumbered by others where Kaytranada is well and truly back on form.

The tough guy act only gets you so far, though. And that is why 'Karma 3' really comes alive when East exposes his character’s soft underbelly. ... Memories tainted by regret and guilt – the flip side of nostalgia – resonate in Motown-style acoustic instrumentation and chunky Golden Era beats combined with a supreme cast of vocalists.

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

Fuelled by rapturous and disjointed guitar work and bittersweet lyricism, this record will easily be in the running for one of the best records out of the UK this year.

The album is a bold, idiosyncratic collection of songs crafted under intense time pressure after producer John Congleton insisted that Grant have all of the material ready to go before entering the studio. Such a challenge certainly seems to have focused the mind.

Here everything seems whole and fully realised, the sound of a fleshed out band sure in its own identity rather than the end result of a prolonged mixtape crush.

Devastating, but utterly beautiful.

They're offering something new with 'MUNA' - evolving, inspiring, and taking us along for the [horse] ride.

A beguilingly atmospheric record, this new album from Red River Dialect seems to be in perpetual transition, coming close to but never quite achieving that sense of return.

Worth the wait for fans. The record balances its psychedelia with more mediative moments offering plenty of variety. This record again shows Auerbach’s musical influences and projects beyond The Black Keys.

It's classic Americana rock at its best, combining musical echoes of Springsteen and Dylan but crafted with a poet's eye for detail. Dreamy, infectious, and full of hope. A powerful antidote to all those who say the best days of American classic rock are well over.

The Dreaming Room is an enormously frustrating record, as Mvula clearly has it in her to be an incredible artist. But at this point in her career, she remains a orchestra in need of a conductor.

His most well-rounded, diverse, and unrelenting body of work to date.

Each track feels like its own ecosystem, tackling its own demons and fighting with its own musical journey. It’s certainly an album created with plenty of thought and various concepts tackled within its 40-odd minutes, leaving a sweet aftertaste, and the urge for an immediate re-listen.

On each listen Love What Survives is a record full of raw honesty, both musically and artistically, and is worth your undivided attention.

Adore Life sacrifices intensity for heart and with some exploration into the use of space and silence, it could be their perfect album. After all, absence makes the heart grow fonder.

Where three years of agonised, vice-grip creation and destruction preceded Grizzly Bear’s 2012’s multi-dimensional effort ‘Shields’, the five years of space following has worked in their favour--leading to the conception of a creature that breathes confidently with a heavy sense of hyper-ambition in Painted Ruins.

The net result, a tapestry through dark alleys and along river banks, makes for an entertaining listening journey.

The album overall feels like an experiment for Aubin-Dionne, each song stands alone but it’s heard better as a whole piece. The use of calming synth melodies and diverse beats that tie together to make for a fulfilling and emotional 40 minutes of music.

‘Burden Of Proof’ pushes Benny The Butcher back to the forefront, and offers further evidence that Griselda is one of the most vital labels in North American hip-hop right now.

While it may not be the East Atlanta rapper’s best, it still stands as a solid successor to ‘EA Monster’.

Many may still see Vynehall as a specialist in euphoric house, but this album has a richness and depth that transcends the dancefloor.

This album is a step in the right direction in terms of mood, but it’s an overstep in terms of the emotional burden Brown is offering. The choruses are repetitive and don’t fit, and the take away should be focusing more on balance. However, it’s not a question of if he can get that balance right, but when.