Broadly eclectic throughout, it's a buoyant return.

Largely Uyai stands as a genre meshing oddity which, thanks to its pure groove and spirituality, will appeal to those who haunt the dance floor as well as their own dimly lit bedrooms.

Songhoy Blues have once again produced an album for all. The small-minded stamp of ‘world music’ does not apply here (or should anywhere really). This is quite simply a record for anyone ready to get down to some beautiful rhythms.

Belief is a truly remarkable record; hermetic and idiosyncratic, the work of a stubborn maverick pursuing his own lone path.

That the new Daphne & Celeste album is not just good, but great may seem absurd, but that’s the only way to describe it. It’s full of moments of sublime pop genius, thrilling electronica, unexpected warmth, DGAF attitude and good humour.

Deaths is punchy and economical, written under the pressure of looming deadlines. But even then, it doesn’t abandon the literary and experimental sensibilities developed on the band’s previous records.

Driven by a passion to tell real, meaningful stories- without shying away from gritty topics-using their music, Skinny Diet Girl deliver with Ideal Woman a creation that has strong messages encapsulated in a brilliant soundscape.

It’s a self-assured, hook-laden set, and it’s exciting to imagine what they’ll do next as they settle into their roles.

Tastefully pieced together, ‘Jungle’ concludes In A Galaxy with chopped and screwed sound productions and juddering beats, a wholesome way to complete an emphatically creative album.

Right now it sits near the top of 2019’s jazz releases. However, if things continue in this fashion it might not even make the top ten by the end of the year, which is an exciting prospect to say the least.

Revenge is Sweet almost feels like a compilation full of singles – quite a few tracks are Top 10 contenders – and it’s a welcome return for a pair of South London’s finest.

It’s testament to JME’s influence that he’s able to pull in such heavy hitters, but also to his talents on the mic that he’s never overshadowed.

At just under and hour the album isn’t notably long nor short, but there are no parts that drag or feel out of place. This isn’t a hip-hop album, a jazz album, an electronica album...but something that will speak to fans of those genres who’ll take this as their album.

It is an intriguing interpretation that seems unforgettable, leaving a strong impression of him as an artist and this remarkable album.

These tracks are like messages in glass bottles, making their journey from one continent to another, across a calm sea. Pure serenity. ‘Flora Fauna’ is proof that a woman can be many things.

A record you’re sure to fall hopelessly in love with, its immediacy taps into the endless zen of those long summer days.

‘You Signed Up For This’ is the most developed offering the singer-songwriter has delivered so far, with higher levels of production really allowing her storytelling to come through.

In all its floaty, seductively numbing glory, 'Good Morning It’s Now Tomorrow' is an exceptional work of chamber-tinged indie songwriting.

What ‘Fleuves de l'Âme’ shows are that some albums are worth the wait as ‘Fleuves de l'Âme’ shows a delicate balance of killer melodies, tradition playing and contemporary electronica.

One of the quirkiest albums to arrive in the alt-indie sphere for a while, ‘Unlearning’ will definitely surprise you.

It finds the band coming into their own, more unafraid and united than ever, with a record heavy in lyrical content but bright in tone.

The soul tradition turns once more, and this evocative, moving record is leading the way.

Rich, warm and deeply immersive, ‘Datura’ is brooding proof of a band refined.

Ezra Collective have once again released an album that is hard to fault.

A fun record, but also one with real depth, ‘Alpha Zulu’ becomes an apt testament to the group’s continuing vitality.

A remarkable talent, this is an album to cherish.

There are some very distinct new heights on ‘Variables’. ... ‘Variables’ gently pushes Alfa Mist in a newer direction, there are glimpses of his usual evocative and bassy tones, but overall the project is almost absent of his vocal presence. This comes across as a very considered move, however, indicative of a need to show rather than tell this time.

Never afraid to show both sides of the coin, this LP is powerful as he spits about hardships, politics, love and more; constantly referring to the title, he proves that not only is real rap back in style but so is realness.

An album of subtle transformation, there’s much to cherish here.

Healey has delivered the ideal summer album, but it feels as much a gift to himself as his listeners.

This is an album to get lost in. Rosenstock is one of the most important songwriters working, in any genre, at the moment. You’ll love exploring ‘HELLMODE’ like Craig in his creek.

The 36 minute ambience of ‘Drone In B’ allows space to contemplate all that has come before; and the conclusion is that ‘I DES’ is a celebration of future possibilities, and a truly beautiful listen.

Arresting, yet often unexpected, ‘Fairweather Friend’ pilfers from the indie pop lineage, while daring to stamp out a unique identity of its own.

It has the power to give you these little, unexpected, rushes enabling you to fall utterly for this intricate, complex, but captivating album.

It’s METZ’s most confident record so far and a deafening reminder that art wasn’t designed to adhere to paint-by-numbers standards – it’s meant to bend until it breaks into something new.

Pushing 50 Iron & Wine proves he still has much to say in a hypnotic record full of lush production, highlighting the warmth and timelessness of his vocals. If not one necessarily to win over new fans, this will delight longtime fans who have been along for the ride.

Blending elements of footwork, noise, broken beat, neo-classical and experimental, the Indiana artist has crafted the sound of a far out utopia, inhabited with fear, euphoria, bliss and anxiety.

It is captivating. What is more, we’re listening to every note and hanging on every word.

It's brutally honest, yet comforting and displays the freedom and catharsis she felt via making it. A compelling new chapter for old fans and a thrilling set for fresh ones.

It’s an essential purchase for anyone vaguely interested in music with a soulful pulse.

Trend and time can’t touch them, and with ‘Senjutsu’ they’ve produced one of their best albums of the past 20 years.

Neō Wax Bloom begs for multiple listens and, once you’ve digested every morsel, you’ll be wanting to visit Mamu more often.

A project driven by a focussed, finessed sense of purpose, ‘The Tipping Point’ is an excellent song cycle, one that touches on their innermost feelings.

A grand, cinematic record, it seems to burst past the edges of the widescreen limitations it utilises. Terrific space rock that feels utterly untethered from its sources, ‘Everything Was Beautiful’ easily ranks amongst Spiritualized’s finest achievements.

‘LOGGERHEAD’ makes for an unmistakably compelling debut, held aloft by the principle that sometimes you have to just scream it out.

A welcome reminder that Lambchop are just as vital as they’ve ever been.

You can hear the size of her thoughts and desires on this truly stunning record, this genuine opera. They are as big as the universe and everything in it.

Even in the albums more heightened and banging moments, there’s consideration and a message, lyrics worthy of a proper listen. By drawing on his own experience and stories, Sam brings politics to his music in a way that’s more impactful than anything Keir Starmer is doing at the minute.

All one can do is let the album play through again, though, is indicative of the great power this exhibition of completely engrossing, electrifyingly ambitious avant-dance(hall) possesses.

Unfailingly imaginative, her return offers another vital chapter in her unfailingly riveting career.

Athena isn’t just an album to be listened to, it’s to be experienced. While this is arguably true of all music, this album is filled with deeply textured soundscapes that feel contemporary but also from the not-too-distant future.

Works of art like these elevate us beyond the material world, if only for an afternoon, and for that Holter remains worth her weight in gold.

A hugely impressive achievement, ‘I’ve Been Trying To Tell You’ is technically exquisite, while remaining incredibly difficult to pin down. A project to bathe in, rather than simply enjoy.

A record bursting with artistic emotion and vulnerable resilience.

Despite the sadness that clearly surrounds this project there is plenty of positivity: the production of the album is impeccable, and the overwhelming message that shines through is of hope for the future.

uknowhatimsayin succeeds in flipping our expectations of a Danny Brown album, delivering a project that’s masterfully produced and exquisitely executed.

It's glittering and electronic, its lyrics and title inspired by Owain Owain's dystopian science fiction novel, and its melodies underpinned with discordant notes and bric-à-brac sonic oddities--but it shares a similarly subversive edge to that record.

Fragile yet utterly destructive, this wolf in sheep’s clothing will hurl you five ways and leave you hovering over a bleak abyss. In a great way, obviously.

It’s honest, dark, funny, tragic, moving and incredibly catchy. This is PUP’s finest album to date. No easy job. At its heart this is a slow descent into self-destruction. And we feel all the better for it.

'Cruel Country' is neither ironic, nor frivolous: it’s a sprawling double-album that stands as one of Wilco’s best, an ever-moving meditation on the quest for connection in a country that’s often cruel but always worthy, in Tweedy’s eyes, of forgiveness.

From the delighted cheers of the fans to the simple message of ‘merci’ from Sleater-Kinny themselves Live In Paris is the sound of band who--frequently under-rated, sometimes unjustly ignored--have found a room of their own. This is their time.

A body of work that will bring more comfort to longtime fans of his like a big fat hug around the middle, it’s packed with enough pop chops to rattle stadium floors, and dominate the kitchen radios of the casual listener for a while to come yet.

It’s clear Danny is dealing with some demons, but his issues don’t dampen the mood.

This is space tourism, flying first class.

‘42.26’ - unmasked as the previously released ‘Feels Like Summer’ - and ‘47.48’ (which features his son Legend Glover) are the only other enjoyable tracks on the project. The other songs seem to fade and ultimately becomes background noise with no proper substance compared to Donald Glover’s other projects. Lacking the strong narrative thrust so apparent on his past albums, the project is incredibly disappointing.

Working versions under soon-to-be-changed titles, these sparse arrangements are more than just sketched outlines. Stripped down to their rawest nerve, unfiltered yet purified - they transport us straight to the feeling.

Driven by demons and fired by fury, 'Blunderbuss' is a turbulent insight into one man's wrath - but it rocks. Hard.

In its relentless fixation upon youth Light Upon The Lake seems to have stumbled across the timeless.

It's a masterpiece.

'Universal Credit' shows great potential, but its drop in momentum in the first half marks it as a project that hasn’t quite lived up to its own standards. Regardless, choice tracks on 'Universal Credit' mark Jeshi as a musician willing to be different and to speak with conviction.

Mightily impressive.

Overall, the album does a fantastic job of showing us where Lou Reed was in 1965.

‘Mommy’ is not an evolution for Be Your Own Pet, it is an affirmation that despite the passing of time, we can still be just as vital as our former selves.

Nao is entirely galactic on this record--there is an omnipresent sensation of otherness throughout the album. Whether it be in the trademark effluvient vocal or in the consistently atmospheric and glistening instrumental, Saturn is spacial.

As an album, it must be said, Gargoyle never truly coalesces. The distance between the bright, ethereal shoegaze sound and Lanegan’s dirty, earthbound voice is just too great to be reconciled (although 'Nocturne' does come incredibly close). But just because two compounds don’t mix doesn't mean they can't form something beautiful together.

Hot Sauce Committee Part Two is probably the third best Beastie Boys album ever made. And that is not a pejorative. Boggle!

‘Whatever The Weather is fortunately distinctly Loraine James; an unexpected new step of diverse experiments, and a perfect companion to a spring as of yet undecided on showing its face.

Mad and all-consuming, this is music for disillusioned youth with enough wry wordplay to back it up. In all its angst and menace, you can't help but feel liberated.

That the groove will be locked down is never in question. Silk Sonic are gonna do what Silk Sonic are gonna do. The only question is whether you or the unnamed love interest are joining them. And you should. 'An Evening With Silk Sonic' is a real good time.

‘Sour’ is the sound of a bold talent operating on their own terms – potent in its execution, revealing in its lyricism, it’s a record that finds Olivia Rodrigo effortlessly claiming her status as pop’s newest icon, and one of its bravest voices.

Gone is the Primary Colours influences of Portishead's Geoff Barrow, or the punchy impatience of Strange House, and in that place stands an intellectually collective five-piece, fully immersed in the confidence of their own astonishing abilities.

‘As The Love Continues’ is Mogwai at their best, and is possibly their most consistent record since 2006's ‘Mr Beast’. Their mums should be proud.

A very welcome return.

While he’ll probably never eclipse the flaming star that is label boss FlyLo’s reputation, Bruner here shows that he’s both his collaborator and peer, fusing a multi-genre musical mentality with a brilliantly sharp edge of accessibility.

A broader, more nuanced experience than 2018 ‘Daytona’, Pusha T still reins in the creativity across the album’s 12 track span. Succinct and finessed, ‘It’s Almost Dry’ is a riveting journey, from first to last.

Their most confident and assured release filled with the promise of things to come. One for you wicked souls out there.

Young Fathers possess that which makes the best British acts truly special: a singular identity born of multinational mixology.

A quality accompaniment and memorial.

Showing clear progression and monumental ambition, TNP have crafted a stark and dense knockout performance.

The woozy title track seems deliberately designed to unsettle the listener at the halfway point of an album that is in turns both richly emotive and beguilingly, bewitchingly uneasy.

If you’re looking for a 3am club techno sound, then this record probably isn’t for you; its delicacy makes rather for an introspective experience.

With 'The Return', Sampa The Great expertly dismantles the notion of genre, proving that, when it comes to art, what really matters is content, not labels.

A song cycle that touches on identity, loss, and the path through it all, it’s one marked by maturity and a growing awareness of the potency of her own talents.

Lykke Li seems to have made it work for her.

Tiny Ruins’ effortlessly stunning lyricism and creative cohesiveness mean that ‘Ceremony’ does in fact hit the mark from start to finish.

Kehlani can still be thorny and tempestuous but they’ve also never been more holistic and soulful than on ‘Blue Water Road’.

The vocals on the album are flawless, particularly for tracks such as ‘White Rooms And People’. ‘Outside’, is perhaps the quaintest offering on the album, but is immediately followed up by ‘Be My Guest’, an industrial offering that sends listeners into a frantic dervish.

The sound of a band resurgent, ‘Night Network’ will have you falling in love with The Cribs all over again. Tapping into their core sounds and core values, it finds the band emerging from their legal troubles triumphant, relishing the vitality of being able to make music together, in the same room, at the same time.