Bey channels the destabilising loss of her father and its attendant grief into something transcendent yet eminently relatable. ‘Ten Fold’, like the best journeying album, takes you along for the ride whilst serenading your anguish.

First spewed forth in 1973 this blend of Iggy's guttural moanings and James Williamson's precise spiky guitars is rightly regarded as one of the most seminal, ferocious, uncompromising, crude, sleazy, nihilistic rock albums of all time.

A glittering glam-pop bounty of androgynous pop bots, dock prostitutes, Depression-era outlaws, cowboys and nun-baiting schoolgirls, GYBR remains a vital and versatile vision of brilliance that deserves to be heard.

Titanic Rising harnesses convention and refashions it into something singular. At once a document of this “wild time to be alive” and an escape from it, it’s often remarkably good.

Constructed amid the dystopia of 2020, ‘CARNAGE’ instead stands as something unique, the sound of two vastly experienced musicians removing themselves from expectations, and constructing something both beautiful and visceral, tender and blood-thirsty, wholly terrifying and completely absorbing.

The closing run of tracks on the album are some of the most musically interesting she has released to date.

As both a treatise and a sonic testament, ‘COWBOY CARTER’ is its own triumph; unmoored in form, space and time, it’s the work of a preternatural talent painstakingly poring over every word, stratified vocal, sample and stylistic flourish.

Disjointed? Slightly. But who cares. He’s conjured something mischievous and joyful. A record that feels like it’s been beamed in from a distant star, sounding something like a near and possible future.

As ‘Red (Taylor’s Version)’ shows, this is an exercise in catharsis. Leafing back through the storybook of our own formative years, we feel it all.

It’s an exercise in catharsis, providing an accurate snapshot into the minds and mentality of the band certainly, but also the general public of the last year and a half.

If ‘RENAISSANCE’ doesn’t convince you that a star with nothing to prove continues to produce sprawling bodies of work that are editorially precise, prismatic and rhythmically audacious, nothing will.

A hugely impressive, frequently stunning return, ‘Black Rainbows’ ranks as one of the year’s most imposing comebacks.

This newly three dimensional Little Simz--vulnerable and reflective, while spiky and hard--has produced a crafted project, and it’s one of her best to date.

Definitely not a reinvention, it plays to the band’s strengths while amplifying new qualities, a record as bruising as it is subtle. Working to their own passions and desires, ‘Blue Weekend’ places Wolf Alice beyond the reach of their peers.

Olivia Rodrigo has created another fun, varied and mature studio album, which perfectly contributes to her wider attempt to preserve her experiences as a teenager within her music.

Musically, the pop-punk sound has been largely abandoned (save for, perhaps, recent single 'I Don't Like Who I Was Then') in favour of something more forceful and nuanced.

Despite the addition of new blood like Anderson .Paak on ‘Movin Backwards’ and Kendrick on ‘Conrad Tokyo’, the overall production, overseen by master cutter Ali Shaeed Muhammed, is unfiltered, choppy and distinctly reminiscent of the original Tribe sound.

This is an album about growth, however messy and non-linear it may be.

You don't even need to know about the box-set's extras: if teenage angst is the root of rock and roll, then 'Quadrophenia' is its definitive statement.

It's heavy, but so very beautiful.

It is a genuine classic album. ... Lal Waterson was a hugely significant and individual songwriter, and her spirit--alongside Mike’s energy, his unique, rasping voice and his own songwriting--plus the time capsule who’s-who of a support cast from the British folk scene of the early 1970’s--make this curious work of art individual, heartfelt and fun.

It immediately stakes its claim as the rock album of 2015.

‘Punisher’ is an immense album tackling the ugly and absurd sides to life with beauty, humour and self-awareness. It’s a unique reporting style and a key statement.

Overall, ‘1989 (Taylor’s Version)’ is excellent. The praise the original album received for its composition, songwriting and overall curation is still absolutely worthy, and will hopefully serve as a reminder of how and why Taylor Swift became one of the greatest solo artists of her generation. The tracks from the vault are exquisite and make strong additions to the album as a whole, and it would be surprising if these songs didn’t become immediate chart successes given their likeability and quality.

Stunning debut mixtape ‘Send Them To Coventry’. The 15-track project is a musical kaleidoscope, fusing elements of afro-swing, dancehall, grime, and rap. Sonically, it speaks to the fluidity of Black sounds.

As with most of Numero's releases to date, there are moments of gold in amongst plenty of enjoyably period music and it's best consumed in one, immersive and overwhelming sitting, accompanying book to hand.

‘The Land Is Inhospitable And So Are We’ is Mitski at her most emotionally raw.

Through channeling their frustration into their craft, Boston Manor have not only made their finest album to date, they’ve lent a voice to the disaffected youth of modern Britain at a time when that is sorely needed.