‘Iechyd Da’ is a forward-moving record rooted in love and loss, marking a significant chapter in the musician and producer’s career.

It’s not as shiny as ‘Nevermind’, nor as raucous as ‘Bleach’; it’s not as sensibly realised as it would have been has DGC had entirely their own way, but nor does it completely kick against Cobain and company’s prior achievements.

Opening your debut LP with its three least engaging tracks is a bold move that almost capsizes the whole project. ... Fortunately, bar a scattering of clunky lines (“I don’t want to die / That’s a lie”), the rest of ‘the record’ manages to successfully scale the vertiginous heights set by the eight solo albums preceding it.

The career-spanning retrospective Alone and Unreal: The Best of the Clientele serves as a potent reminder of just how discreetly revelatory the group's primary method of operation has always been.

As a rapper, woods has gone from strength to strength, his armoury fortified. It’s been a joy to witness. Where hooks were once short phrases bellowed on repeat, now he toys with the capabilities of his voice.

An emotionally ambitious 20-track built on pain, vulnerability and self-identity.

After the delicate beauty of previous albums, this is the sound of an artist unleashed.

It’s a beautifully assembled package. ... Funny then that this collection should contain so much life, from an album restored to splendour, to a night of joyful inebriation and creativity with a showbiz pal, to a ferocious performance in front of adoring fans. ...‘Dead Man’s Pop’ is the perfect tribute.

It’s a Greatest Hits album, not a B-Sides & Rarities collection. What it is is a relatively complete encapsulation (RIP ‘The Air Near My Fingers’) of everything that made people fall in love with this noisy drum and bass duo in the first place.

The devil’s in the detail, and it makes for a brilliant record.

Run The Jewels has again pushed rap away from regular rhythms and rhymes and into territories that they’re still calculating the dimensions of. May they never reach the sum of such remarkable parts and continue to exclusively Run Them Jewels fast.

Melancholy remains the primary colour in Robyn’s work, though it continues to sparkle.

With Eternity, In Your Arms, Creeper have torn up their own sonic rulebook, giving them licence to roam musically wherever they please. It’s a fresh page in a new story for a band who are really just getting started.

Michael Kiwanuka has undoubtedly created a timeless album, one made with impressive confidence.

This record sees Ware set herself free of any inhibitions and demand her listeners to follow suit. Ware’s vocals show the breadth and strength of their ability; dancing across ranges and depth, from delicate, whispered notes to soaring falsetto.

Finding magic in the mire ‘Rat Saw God’ is an emphatic, uplifting reminder of the privilege of being alive.

Emotion and passion are apparent in every word, key and chord throughout this project, boldly asserting Jamila’s second offering as a brilliant new addition to her own legacy, rather than a mere follow up to 2016’s ‘HEAVN’.

It’s a perverse and challenging listen that makes very few compromises. But the album is also both intensely lyrical and supremely musical--and it plays out in a way that is designed to be perversely uncomfortable for the ears.

‘RTJ4’ is a must listen. It is diverse enough to appeal to even the hardest crowds. Many genres are represented here, but lyrical hip-hop is at the forefront of all that Run The Jewels is. They stand out from the crowd, whilst invoking the people to stand up for themselves. There is not a bad song on the entire album and the production and features are second to none.

A rich, rewarding, and extremely direct return, one worth observing on its own terms.

Raw artistry paired with rich heritage makes for a magnificent, spine-tingling first album for Rina Sawayama.

A successfully adventurous debut that bears countless relistens.

A striking, fantastically original work, this is an album that taps into animalistic emotion.

All Mirrors is a record that is so intuitive and interior, that it feels it could be difficult to penetrate - but it’s one hell of a prize if you give it the chance.

Sudan Archives is proving that she is an artist who knows no bounds, and projects like this one are what is going to propel her further into acclaim and stardom.

‘For Those I Love’ is a truly exquisite achievement in which the redemptive hope that love and friendship provide is never allowed to sink beneath the waters.

Not only is this their biggest album to date, it’s also their best. It builds on their remarkable career, as a duo and solo artists, to date and makes us question what jazz should be doing in 2022. ... It’s brave, accomplished, daring and wonderfully catchy in ways you don’t expect.

Yazmin Lacey’s curatorial skill sits alongside her painterly-like vocals, resulting in a bold, and emphatic album project.