Its author remains a restless creative spirit, but Paul Simon’s music feels as relevant now as it ever has done, his work reaching the very depths of the human soul.

Joan Of All isn’t an immediate album, and it’s probably not one to reach for a sugary pick-me-up either. Yet if you dedicate enough time to it, what emerges is a work of rare depth, craftsmanship and beauty.

Broken By Desire To Be Heavenly Sent generally plays it safe, assuming the schtick that’s got Capaldi this far has more mileage in it, which gives the album a competent, workmanlike air.

If this were the debut album of a new group it would be celebrated as a fantastic example of the visceral and cerebral pleasures of a singularly oppressive style of psychedelic metal. As with all of Jarmusch’s projects, it’s an acquired taste, but a powerful one.

It’s a record bursting with so much confidence and instantly likeable songs that it already sounds like a hit.

We are left with an album that has several great tracks, but whose filler and repetitive subject matter prevent the Jonas Brothers from realising their full-grown potential.

An album which is both fascinating and hard to listen to at times. Gag Order may not go down as Kesha’s best album, but it’s certainly the album that she has to make at this present time.

The album, when taken as a whole, is simply too much. When taken as individual pieces, it works much better – and there’s simply no reason for it to be this long.

A signature sound is all well and good, but in the future the duo would benefit from indulging their inventive side more.

Complex yet accessible, and best experienced when fully immersed in it. It’s possibly Braids’ best record since their debut Native Speaker – a record that reveals more delights the more times you listen to it.

Everything Harmony is the sound of two men taking nearly 50 year old references and reframing them for today. For a refreshing twist on a vintage sound, nobody does it more impressively than The Lemon Twigs.

The Love Invention wades into territory more mainstream than even Supernature, slotting merrily between Murphy’s recent output and Kylie Minogue‘s return to her Disco best, and succeeds very well in creating stylish, louche, mature bops. In so doing, it unquestionably establishes Alison Goldfrapp as a solo force.

There may not be anything hugely original to be found on Raving Ghost, but Olivia Jean has charisma by the bucketload, which makes this album such an enjoyable listen.

There are plenty of moments where the sheer brilliance of his musical intuition and technique are nothing short of breathtaking. It’s an album that deserves to find an audience beyond drum enthusiasts.

Although the songs on – never really rise above a mild trot, there’s still some musical variety.

The Rat Road does indeed become an accurate reflection of modern life, but it lifts far above the routine, providing an insightful and emotive soundtrack for many who cross its path.

Nathan Fake is technically skilled, and on tracks like Hawk his creative verve really shines, but some kinks could be ironed out on this rose-tinted trek.

Prism gives The Orb a youthful complexion, its heady brew of musical ambience, songwriting substance and sample-based humour bringing a hefty dose of positivity. Strongly recommended.

This is a remarkable album, even for an artist as consistently strong as Susanne Sundfør has been to date. It reaches into the centre of the human heart with primal connections that probe at its very existence. It is another striking addition to the discography of a singer who just keeps getting better and better.

Some may find the often austere arrangements off-putting, but this is an album which proves that Tiny Ruins are a band that can creep into your heart without you even noticing.

It’s an album that confirms the sound of an artist continuing to push forward, a unified expression of joy that is never anything but bold, playful and fun.

Stylistically Avalon Emerson was taking a risk on & The Charm, but with this engaging, surreal, infectious music it pays off massively.

Star Eater’s Delight is Neale’s best, and most accessible, work to date.

If you don’t pay attention, it’s harmless background fluff, yet if you concentrate there are mysteries and subtleties to discover that demand repeat listens.

The DJing skills are still there and the grooves hold together throughout, though there is rarely much of interest on top of them. ... There are also precisely eight bars in The Cards’ mid-section where the drums hit just right, before they’re replaced with yet more poorly-mixed elements. These moments are so few and far between, however, that it’s hard to justify the album’s raison d’être.

The melodic writing is good but not always as memorable as Daft Punk’s pop sensibilities would suggest. Yet there is much here to enjoy, and to suggest the next chapter in Thomas Bangalter’s career will see him flourish as an orchestral composer.

It is a cohesive musical statement in spite of its length. His first-hand experiences mean Okumu’s sonorous tones carry powerful messages, in what is one of his finest musical achievements to date.

As with every track on this perfectly crafted piece of work from one of the world’s most distinctive voices, it is really quite beautiful.

There are a couple of tracks that veer towards the forgettable, and the overall downbeat tempo of the album as a whole may test the patience of some listeners. ... Yet even on the less memorable songs, Merchant never sounds anything less than completely captivating.

72 Seasons is monstrously long – 77 minutes to be precise – but the bloated run time actually does it some favours, particularly as the band turn in some of their most creative work to date.

Some may find the relentlessly downbeat tone a bit hard to wade through, but it’s done with such a lightness of touch that it becomes almost uplifting. The journey to Leslie Feist’s sixth album may have been a long, eventful and sometimes troubled one, but the destination is as rewarding as ever.

We may not know the full detail behind each song but simply being drawn into her world and sharing in the healing process ensures Big Picture provides a cathartic experience that few other albums will match this year.

What Sremm 4 Life lacks in cohesion it makes up for in energy, the most exciting Sremmurd record since their debut.

This is an album full of club bangers – anyone who prefers the ballads like Love Me Like You Do and How Long Will I Love You may be disappointed. Fans of decent dance-pop anthems though will be more than satisfied.

It’s a warm, comforting hug of a record, a friend to reassure you that things are all okay, even when it feels like it’s all falling apart. The type of soundtrack we all need in times like this.

While the album’s more maximalist aesthetic may bring challenges for the casual listener, for those who commit it succeeds in being a cohesive and impactful listen.

Holden has created a life-affirming hour in the musical heavens, just as the title promises.

There are enough little twists, turns and embellishments on their trademark sound to ensure they’re still sounding fresh. Continue As A Guest is another reliable chapter in one of Canada’s most consistent bands.

It’s just as special as you’d expect.

While much of Memento Mori is thoughtful, and some of it visits the dark side, there is a great deal of positivity underpinning Depeche Mode’s work as a duo.

A bold, energetic collaborative record. ... If another project were on its way with a bit more polish and focus that would be ideal, as the two certainly have a madcap chemistry that deserves to be explored further.

Caroline Rose’s most personal album to date which, while it may not have the immediacy of Superstar or Loner it will, given time, prove just as emotionally affecting.

It all makes for a terrific comeback for a band that have been very much missed over the last few years. As truly entertaining as the title promises, in fact.

A leisurely 77 minutes of beautifully orchestrated ballads, electronic experimentation, spoken word interludes and callbacks to previous Del Rey songs. Like the vast majority of her previous albums, there’s almost too much to take in, but you have to admire the sheer bloody-mindedness to do things her own way.

Yves Tumor has drawn inspiration from all those moody vocals, watery guitars and blown-out mixes to create their best album yet. ... The increased connection of the internet is taking an already rich musical landscape towards its very own singularity, and when we get there it may sound a lot like Yves Tumor’s raw, surreal, multilayered tunes.

An album that quietly seeps into your consciousness, a collection of charming chamber pop confections that is impossible to resist.

As M83 Anthony Gonzalez makes you want to turn the volume up as loud as possible, filling the room with music and reaching for those other worlds and creatures. Fantasy, then, fuels our imagination – just at the time when musical escapism is sorely needed.

With Radical Romantics we see a distinct shift away from the idea of linear songs, and rapidly towards a 360 soundscape – all encompassing, visceral and beautifully overwhelming.

Although there’s some filler on Endless Summer Vacation – Wildcard and the rather flat closing piano ballad Wonder Woman fall into this category – it probably ends up as her most consistent album to date. This is one former teen idol who’s negotiating the path to a more adult audience just fine.

Only occasionally does the album threaten to go awry. ... This is smart, literate pop music that can tug at the heart as well as make you dance.

UGLY certainly isn’t a pleasant listen, and at various points it’s too extreme to be categorised as rap or rock, but many of these tracks are brilliantly executed and their emotional power and impact put Slowthai in a unique position.

Whilst the linguistic half of Sleaford Mods is developing in two very different directions, Andrew Fearn has turned in his most musically satisfying set of tracks to date.

Making a value judgement on Amelia is a tricky business, it being as immediate as undiluted Ribena. However, the album knows what it wants to do and pursues this with relentless efficiency.

Whichever stylistic avenue is being explored she successfully sculpts and shapes her music in a way that gives it a soft and organic feel.

Closing track Happy Now even dares to pick up the pace and is a reminder how good Uchis can sound when she mixes things up a bit. A few more moments like this to break the homogeneity of Uchis’ songs next time around would be most welcome.

Brothers & Sisters sees him build on these long established musical interests but, importantly, also add new elements to the mix to deliver a compelling listen. It comes out of the blocks impressively quickly, with each track building on the former to create a formidable initial run. ... In terms of musical statements it’s hard not to see it as his most vivid and vibrant to date.

It’s a brutal, intense listen, and certainly won’t be for everyone, but those who care to take the journey will find many rewards.

It’s not the sort of album you can ever relax while listening to, as you’re not entirely sure what’s coming next at any given point. It’s an album full of invention and creativity that never rests on its laurels – maybe not one for everybody, but those who delve into Shook will find so much to explore.

By the end of this eclectic, intense experience Skrillex has proven himself to be an inventive and well-rounded producer, but his abilities in the pop world seem more dependent on the songwriting of others.

It may not make the strongest impact initially, but repeated listens reveal more in the way of deep thought and renewed optimism for tomorrow.

She’s certainly an artist following her own vision: one which may sometimes grate, but is never less than intriguing.

It’s a fun, if inessential, listen and more proof, if it were needed of course, that Lambert is an excellent interpreter of other people’s songs.

It shows him to be a musically omnivorous artist, should any proof beyond Field Music’s albums be required.

As far as third albums go, this is definitely more of an Ultra Mono than a Skinty Fia – a consolidation of their position rather than a leap at greatness.

At 55 minutes, it’s arguably too long, and some of the less memorable tracks could probably be filed away without taking too much away from the album. Yet only dEUS could end an album with Le Blues Polaire, a six minute song sung entirely in French that switches from dirty, grimy guitar rock to hypnotic drone several times.

Perhaps some of this record suffers from thin songwriting but the drops, so clearly the main attraction here, are characterful, razor-sharp and banging.

While some of the guestless songs feel weaker – or at least thinner – than the collaborative works, they still fit the sonic theme and don’t rock the boat too much. Overall, this is another lovely entry into the Gorillaz discography.

Although this is undoubtedly a niche record, the sound of Smith and Unthank singing together is always a spine-tingling delight.

There’s a truly startling album lurking somewhere within Moore, but she’ll need to start taking a few more risks for that to be unleashed.

Optical Delusion is messy, and it certainly doesn’t display the focus of the Hartnoll brothers’ career highlights, but you’re never more than five minutes away from a musically inspired moment.

Abrasive yet euphoric, Pigsx7 continue to supply the world with wired and vivid records.

This Stupid World sees them further consolidate their position as alternative treasures.

Above all, though, there’s McAlmont’s voice, which has lost none of its sexiness and agility in the years since he arrived on the scene in his partnership with Bernard Butler. ... While all of the musical elements may have a strong element of reminiscence about them, the lyrics are bang up-to-date, and not always as cheerful as the sound-world suggests.

When RAYE is self-consciously rebelling against the mainstream it results in some of My 21st Century Blues’ worst music, whereas on the best tracks we hear an artist who fully deserves this victory lap and more.

There may not be too many surprises on Get Up Sequences Part 2 (and it works perfectly well as a double album with its predecessor), but there doesn’t really need to be with The Go! Team. It’s the usual shot of audio adrenaline, and they still sound as life-affirming as they did nearly 20 years ago.

This isn’t the Coxon of Coffee & TV or Freaking Out, nor indeed the Dougall you may remember from the perfect girl-band pop of Pull Shapes. Instead, it’s a mediative, often beautiful record that often has the capacity to surprise and delight. Just be sure you like saxophones.

Heavy Heavy is a short, sharp blast of energy that never outstays its welcome. ... The year may be only one month old, but the first truly great album of 2023 has arrived.

When it catches fire, as on Unholy, it sounds terrific but those moments are too few.

The friends have created something memorable here – not just to bring attention to serious causes, but to captivate and delight all those who stop to listen.

Furling is a collection that rewards repeat listens to allow it to fully embed into the consciousness but once it does its soft, rarefied treasure has much to offer.

It is arguably one or two songs too long, but otherwise AudioLust & HigherLove is a strong pop music record – disposable, yes, but with a songwriting sensibility and deep house production that means it works on several levels.

The band have fully reasserted themselves, taking equal parts past and future to make a record that fits the present day like a glove. Twenty years in and the fires are still burning brightly.

Having done so with great assurance, he has made an album of lasting appeal which responds well to repeated listening.

If you need a soundtrack to your 90 in 90, this is it. The pitfalls, the purity, the piousness of recovery. Just promise you’ll listen to it at least three times. It’s worth it.

Mercy may have a few forgettable tracks, but an artist with John Cale’s long and varied history will always find a way to intrigue the listener.

It is the finest achievement of Coombes’ solo career so far, a magnificent record – and the feeling still persists that there is more to come.

As usual the positives far outweigh the negatives. As a surprise shot in the arm to get the year off to a good start, this is a very welcome New Year present.

By the time we reach final track A Hollow Skeleton Lifts A Heavy Wing it’s noticeable how familiar the songs already seem to feel, a special quality that confirms the album to be significantly greater than the sum of its individual parts.

At just 36 minutes, Every Loser never outstays its welcome – instead, it’s a short, sharp blast of energy that sounds impossibly refreshing.

No Thank You could be forgiven for resembling a victory lap, but it is a triumph in its own right, cementing Little Simz’s position as one of rap’s essential voices.

If SZA needed to prove that she’s still at the top of R&B, she has succeeded with emotional heft, piercingly astute lyrics and a versatile delivery: with more than a few similarities to Mr. Morale & The Big Steppers, SOS is perhaps the best break-up record since TDE’s last one.

An envelope-pushing record, admirable in its ambition even when the thread gets a bit lost.

Hadestown may have gained her success through her successful harnessing of external inspiration but by turning attention inwards on this occasion she’s delivered one of the quietly outstanding albums of the year.

The Hospot may be a fictional place, but Warmduscher have created the kind of soundtrack that makes it feel like the kind of place we’d all want to hang out in.

It’s a beautiful record to immerse yourself in and just lose track of time for a while – once its myriad charms have become apparent, you won’t want to listen to anything else.

Though the magic isn’t always present on This Is What We Do, there is still a creative drive that makes the case for Barnes’ continuing relevance into the 2020s.

If the album spent more time doing what it’s good at we would have a classic on the level that Stormzy seems to be aiming for.

Like much of Richard Dawson’s material, it’s an album that has to be immersed in and savoured – and although it may be a struggle sometimes, there’s nobody else out there making music quite like this.