Good Songs for Bad People maintains a high standard almost throughout, but it does tail off a little disappointingly at the end.

Noveller is music not only for the open-minded, but for the inquisitive. It’s a joyous, enthralling sound that she makes, and it seems to be getting more enticing with each release.

At times Pick Me Up Off The Floor feels like a welcoming musical refuge. It’s an intimate, empathising support mechanism of an album, well-placed to respond to the emotional needs of listeners during these turbulent times.

World On The Ground has an accessibility and lucidity that should see Jarosz win new fans. This is a highly accomplished outing by an artist very much in the ascendancy.

Killer Mike and El-P have been speaking out about the deep rot at the core of the USA for their whole careers, and with this album they add several more tunes to a rich canon of protest music that will galvanise an oppositional movement.

This is an intriguing record whose rewards come slowly but which leave a lasting impression. There is a restless quality to Sam Eastgate’s songwriting that feels very much of the times in which we live, but there is a warmly soulful side to balance it.

So the debut album is done, and it’s a good one.

With all the horror and terror of living in 2020 showing no signs of abating, we must turn to art for relief, to offer ourselves a steady stream of cathartic pleasures. This new Hinds album is just the thing you might be looking for, and it might offer you 30 of the most engaging minutes you’ve had in the past god knows how long.

Even though Falco, Haliechuk and their Hairpins cohorts appear to be cramming in influences from almost everywhere (acid house, new wave, funk, punk, psychedelia and more), the whole album is incredibly coherent, lucid, and most importantly it’s the of thing that might just define a summer spent outside. Assuming that’s ever going to be possible this year.

Heartbreaker Please, like much of Thompson’s output, is unshowy yet quietly effective. ... The album can sound a little too cosy, where you’re often yearning for something a bit more raw and less polished. Yet if you’re looking for some timeless, classic-sounding pop, then Thompson does a very good job.

Lightburn is on fine form throughout – vocally, he’s been compared to Morrissey for most of his career, but on Lovers Rock he’s more like a downbeat Damon Albarn.

Domesticated is a blissful trip, managing the enviable feat of being inventive and comforting at the same time, and is highly recommended for all electronic music fans.

At 16 songs and a mere 43 minutes, Chromatica can feel a tad frenzied, but in the round marks a deft return to Lady Gaga’s club-pop roots, resplendent with much ’90s influence. There may not be anything really new here, but why mess with this formula when it can produce such engaging slaps and dancefloor empowerment? Gaga is back, with her bangers intact.

All in all Suga is a very promising work, an enjoyable snapshot of a rapper becoming a bona fide star.

Island isn’t an album that provides any easy hits – it’s more of a record to luxuriate in and discover its charms gradually. Lockdown conditions mean that it’s easier than ever to immerse yourself in this grandiose music, and those that do will find much to lose themselves in.

It’s never an easy listen, sure, but there’s method to the madness.

If this is their worst album, and you might believe that it is, then they very well may be the best band in the world. If quality is more important that quantity, then they must simply be the worst band in the world. It’s all about perspective, and at 80 minutes and 22 songs, you’d expect some measure of clarity to emerge from Notes On A Conditional Form. What you do get is a Taylor Swift album in the midst of five great songs, five decent tracks and 12 give-or-takes. And that, in today’s artistic climate, is tantamount to excellence.

While a few of the songs could do with a harder edge, that’s not Salvat’s style. What he has delivered is a record that is heartfelt and tender, direct and emotionally challenging, while still sporting enough tricks and flourishes to fill the dancefloor with bangers to spare.

On one level I Love The New Sky is simply a collection of engaging songs but on another it’s a call for togetherness, an appeal to stay strong and embrace life. Whichever view you take it’s very much a record for these times.

The term ‘easy listening’ is a little taboo these days, often replaced with the more benign label ‘ambient’, but these ditties represent the former in every meaningful sense.

A great deal of thought has gone into these covers, now transferred to her own private collection. That does mean not everyone will buy into some very individual takes on well-known songs, but with soul and body laid completely bare, no emotional stone is left unturned.

Working with producer Chris Coady, I Break Horses embrace the power of slowing things down considerably. Many of the songs rarely get as speedy as a trot, and indeed, the opening track Turn, takes a good nine minutes to slowly detail a dissolving relationship. This, then, is music to get lost in, even when the content is at times worrying and dark.

There are a couple of songs that feel a bit like half-sketched filler, means that Williamson’s fourth album may not come across many people’s radar. Yet for those who do chance upon it, there’s much to enjoy.

For the most part, it’s an album of solid indie pop songs that, thanks to Harkin’s habit of writing great guitar hooks and vocal melodies, manage easily to worm their way into your ears.

It’s as good an introduction as any to Sleaford Mods’ peculiar charms.

The result is immersive, experimental, bubble-gum, intense and deep with stunning layers – and echoes the lockdown zeitgeist.

The good news is that while it’s not better than Hippopotamus, their latest work is just as hilarious, and just as focused.

Stephen Merritt and his many collaborators have made a wildly varied and highly entertaining album that reads like a book of poetry and plays like a soundtrack to a particularly fun (barely remembered) summer.

What Perfume Genius started with Too Bright was strengthened and solidified on No Shape and has been brought into full focus here, and nurtured to full bloom.

An album that feels alive and joyous in its creation and performance.

There are moments on Good Souls Better Angels that recall mid-’90s Neil Young in its focused fury and righteous anger – some may be put off by the rather grim tone, but if you’re seeking a soundtrack for the end of the world, you’ll find none better than this.

Clocking in at under 25 minutes, Do You Wonder About Me? is just shy of feeling like a fully-fleshed project. But with bags of potential, it’s an album that makes you excited to see what self-confessed “slop pop” exponents Diet Cig choose to do next.

Slight quibbles aside, there is plenty of gold to be found here.

Those familiar with Modern Studies’ previous two albums won’t find much in the way of surprises here but overall, The Weight Of The Sun is the most developed and assured they’ve sounded to date, very much falling into the ‘rewards deep listening’ category.

On paper the sound palette on Scramblers is bracingly limited, drum machines pushed to their limits and bare-bones accompaniment, and in the hands of a lesser producer the record could well become irritating and tedious. But the sound design, sparse and abrasive though it is, is playful enough to keep energy and verve pulsating through the album’s brief run-time.

While there’s nothing that tugs at the heartstrings as much as Metarie did all those years ago, Dear Life is a reminder that Brendan Benson remains a terrific songwriter. He’s still too much of a quirky proposition to make it big, but Dear Life is a great big burst of sunshine in an all too dark world.

In general there is less percussion than previous Austra albums, which heighten the intimacy in songs like How Did You Know. The exception is the clattering set of drum fills towards the end of It’s Amazing, which disappears in a swirl of harp-like ripples. Yet HiRURiN, as with previous Austra albums, is all about the voice.

Simply put, his music seems alive, and utterly modern – despite its clear and obvious debt to The Beatles. ... This is a staggering work, a monumental achievement – and easily eclipses any of Jones’ acting to date.

One of his best albums and deserves better, confirming Damien Jurado to be an artist operating at the peak of his powers.

Over the past decade Ghostpoet has crafted his own niche, one in which dramatic instrumentation is paired with his inimitable drawl, and this record further solidifies the style that he’s known for, albeit with a few missteps along the way.

This is a strong record, and one made with a singular artistic focus. Senni clearly knows what he likes, and he does it incredibly well.

A more brisk runtime and shorter tracks – as on 1981’s Lustwandel, for example – could have elevated the record to greatness, but as it is Wahre Liebe is a diverting collection that showcases Roedelius’ sonic prowess well.

What makes Shortly After Take Off work is the attention to detail, both musically and lyrically.

Fetch The Bolt Cutters isn’t the easiest album to listen to – and in these claustrophobic lockdown times, some may baulk at spending 51 minutes with an album of this intensity. Yet while it’s certainly not an album for background listening, those who are willing to invest some time in it will be rewarded by one of the most remarkable records released this year.

Womb contains a world that is by nature red in tooth and claw, and Purity Ring have found a way to marvel at every single aspect of the experience.

It’s been well worth the wait. It’ll probably a while yet before his main band are back in action, so in the meantime, Earth should fill that gap.

Song For Our Daughter is a return to what made her so widely admired. These are songs of undoubted depth and longevity that can provide moments of relief and solace to those in need.

There’s the bones of at least three spin-off albums within its grooves. Yet, this constant shapeshifting means that there’s much to be discovered and loved here. Sounding different every time it’s played is the mark of a great achievement.

It may not have the immediacy of old Walkmen songs such as The Rat or Angela Surf City, but these stories of New York characters have a charm and subtlety all of their own, which is rewarded by repeated listening.

Stoddart has obviously brought out a new, more experimental side to Harvieu, as Revel In The Drama is a much richer listen than Through The Night.

Everything seems to hang together in its own peculiar way, to deliver an overall experience that’s unfailingly interesting, although perhaps ultimately lacking the truly special, standout ingredients needed to elevate Webb’s solo work to the kind of rarefied levels he helped Talk Talk achieve.

Are You In Love? is arguably not quite as immediate as Good Advice, with some songs taking a few listens to really find their feet. It may be one for more long-term fans than one that will provide her commercial breakthrough, therefore. But anyone who devotes some time will be able to give an answer to the question that the title track poses.

It is just one of the many avenues Bowie could have gone down, but the effect of what he has done is fascinating and wholly satisfying.

Musically it is arguably the best thing the band have done..

Whilst it’s good to see another side to the band, it’s the sheer spiky pleasure of their more direct moments that stand out.

A record of many highs.

It Is What It Is sparkles with inventive songwriting, chunky production and pervasive good vibes, a worthwhile addition to any R&B or jazz fan’s collection.

Migration Stories is a slight album, and a brisk listen – but it is a totally accomplished project.

Melt Yourself Down have always had jazz antecedents and connections but they’ve never sounded more like a jazz band than they do here. While this album sometimes struggles to maintain focus in its thematic range, the music never misses a beat as it reaches far and wide.

A masterfully constructed – and sequenced – collection of songs to get lost in over the coming months.

With barely a weak track to be heard, it all adds up to an album that sees Waxahatchee move up to another level. It’s the sound of a woman at peace with herself, and Crutchfield’s newfound serenity makes for a wonderful listen.

While as a whole it’s disjointed, and the variation could hinder its success, Arbouretum have undoubtedly released another good album.

The whole sonic approach on Abolition Of The Royal Familia is at once a lot more coherent than The Orb’s previous record, the transitions between different genres and moods more methodical and well-paced.

It may be the antithesis of Shiny Happy People, but this Beat Poetry is never anything less than compelling.

This is just simple, honest-to-goodness, feel-good rock ‘n’ roll, and the world is better for it being out there. More like this, please.

This vibrant, audacious collection of pop bangers signposts the way.

Where Avery was perhaps a little formulaic with his previous record, Song For Alpha, here he is inventive and reinvigorated, and Illusion Of Time stands out as an emotional and enjoyable, if bracing, release.

Of course this is a great record. Of course this is essential listening. At this point in his career he’s still getting better, and that’s a scary proposition.

All in all, Put The Shine On is a stunning update of the classic CocoRosie sound.

This is a fantastic record, and yet another reminder of how good this band are. Nothing seems out of place, not a single riff or beat is wasted. New styles are performed with vigour, and the band sound energised and refreshed. An essential release.

Superstar doesn’t quite hit the heights of its predecessor – at times, it feels like the whole concept of the album’s theme is getting in the way of creating a fully flowing album. When it works though, there’s enough evidence that Rose is still very much a superstar herself.

La Vita Nouva is a deeply personal and cathartic album and is certainly one that requires more than one listen. Each time will lift you up into a higher state of consciousness. A dramatic and unbridled return to a new beginning.

Traditional Techniques is neither a revelation nor a disaster, it’s neither a winner nor is it a loser. Simply put, this is a very, very niche record that will likely sink, never to be seen again, as soon as Pavement step foot on the Primavera Sound stage in June (coronavirus permitting). But if you were to give it a few spins, who knows where it might end up taking you?

The Long Goodbye is a fiery yet thoughtful and nuanced record, with artistry and political consciousness on a level above most British rap.

The decision to segregate different moods and styles into these contrasting releases was a risky one, but it pays off in that both records remain interesting for their duration. Princess Nokia is for the most part a great rapper, but can sometimes lapse into an artless earnestness, as this enjoyable but patchy diptych demonstrates.

The decision to segregate different moods and styles into these contrasting releases was a risky one, but it pays off in that both records remain interesting for their duration. Princess Nokia is for the most part a great rapper, but can sometimes lapse into an artless earnestness, as this enjoyable but patchy diptych demonstrates.

The Main Thing offers no grand statements, no needless experimentalism, no left-turns or tacky rebranding. It’s just Real Estate, doing their thing, and doing it better than anybody can do it, no matter how hard they try.

From the outset, A Situation is a black hole of an album: cold, dark, even nihilistic. It’s easy to get drawn into the music but it doesn’t offer any obvious exits or conclusions.

There’s the feeling that, behind her mask of the anthropomorphic goddess of climate change, maybe, just maybe, this is Grimes’ most honest and reflective album yet.

Suddenly finds Snaith in his element, writing beautifully endearing tunes and setting them to multi-layered production in a way only he can, and the results are spectacular.

Cape God has an experimental edge to it that makes it one of the most delightfully weirdest albums of the year.

Overall, this is just another Ozzy Osbourne solo album, for better and worse. It succeeds in its rawness, its slapdash cobbling together of predictable riffs and lunatic poetry.

There are many joys to be found within its brittle, opaque sounds but it’s undoubtedly an album that must be lived with for an appropriate length of time for these to fully surface. Yet, this isn’t a bad thing.

This is a spectacular, rich and luscious album made up of a variety of sounds that many listeners will have etched into their minds and hearts forever.

Ultimately, the whole album is a triumph of collaboration and should be seen as a celebration of the artistic vision of Rob Marshall. There’s not a misstep on a single track, and there’s a depth here that rewards repeated listens.

This is now their third consecutive release with the same line-up, after a period of instability threatened to sink the band. It’s also their most focused album since Tomorrow’s Hits, and it might be their best since then too.

A curious mix of musique concrète, poetry and Ranaldo’s longstanding metier, avant-rock. The near-absence of guitars means that there is a sparseness to some of the tracks, but the prominent percussion, combined with samples and effects, makes for an industrial feel on many songs

A Pilgrim’s Tale admirably tells of a fascinatingly swashbuckling adventure into history, but in shining a light on the fate of this people it contextualises how so often that history is authored by the victors.

Whilst the songs can feel painful and direct, there’s also a sense of euphoria and celebration here too, and the overall sense is one of healing and catharsis. This is Frazey Ford’s best album to date but it really feels like she is just getting started.

Those that have heard lead single Yummy will essentially be able to form their view on Changes without listening to it: if they find it icky and monotonous then that will be how they perceive the whole album, whereas those that think it’s catchy and well-produced are well and truly in luck.

Loom is an intense record, full of feelings of loss, confusion and angst. It’s also an early contender for best electronic album of the year.

It’s amazing how true auteurs constantly shift their attention, shift their style, but always retain a razor-sharp focus on the artistic integrity of their projects. Kevin Parker is a true auteur, an artist who has moulded pop music to match his incredible vision.

Its genesis was borne of urgency, and that’s a feeling that permeates every aspect of an album that positively twitches with energy.

What we’ve got now is a world full of millennials that have grown up to make art about these injustices. HMLTD have done just that, focusing their trials and tribulations through a magnifying glass to burn us mere ants. And oh, how I love a bit of self-immolation.

These are songs to throw yourself around the moshpit to – it’s the sound of a band realising their potential and loving every minute of it.

The pop souls of both its creators couldn’t help but surface, and this is manifestly true of many of the tracks: the words may be dark, but the upbeat hummable melodies just keep on returning from the crypt.

Silver Tongue is her most consistent album to date.