In many ways, it’s the perfect soundtrack to a world struggling to emerge from a pandemic. ... If there’s a criticism to be had, it’s that it all sometimes seems a bit cold.

His first solo album in six years, The Work is a comfortable record, accomplished and at times even gleeful in its kitchen-sink approach to sound design.

It brings its fair share of frustration, but Christine And The Queens’ third record is undoubtedly interesting, a lateral progression if ever there was one.

Alpha Zulu is certainly a top-tier Phoenix record, bringing back that effortless French cool in a way that only they can.

This is another very good, solid album from the Swedish siblings with a fair bit of typical brilliance scattered throughout.

All in all, this is a more mature, deeper developed sound for the band and will help us warm the cold depths of winter through toe-tapping riffs and clever lyrics.

Admittedly, this is pretty much Bruce does karaoke, but when it’s done this well and with so much obvious love for the source material, it’s irresistible. Volume 2 can’t come quickly enough.

MK 3.5: Die Cuts City Planning is diverse, lively and mostly encouraging.

The album does not disappoint; on the contrary, it’s unbelievably good. Sporting sharp vocals, compelling riffs and potent lyrics, this is a stellar release.

Whereas some Avery albums have struggled to convince, the work here is fleshed out and artistically vibrant, the only noticeable weakness being an overly goofy ostinato on Lone Swordsman, though IDM had a few of those in its time. All in, Ultra Truth is an accomplished, moving record.

It’s introspective and understated while never failing to get its message across. He may not receive the accolades and acclaim that the likes of Stormzy or Dave garner, but Hugo is more proof that Loyle Carner is one of the foremost names in UK rap and hip-hop.

Their music loves to have a good time and get a sweat on, but can’t help flashing a thought or two in the direction of life outside the club. Add a healthy sense of humour and you have a tried and tested album right up there with their best work.

The third instalment in his Actual Life series continues the concept of an artistic journal, but fails to convey the intended poignancy.

While her 10th album doesn’t make instant classic status like 1989, and Evermore and Folklore remain her masterpieces, it is still an understated, beguiling look into the mind of one of the biggest pop stars of our age.

No half measures or quarters are given, and as a tribute to Pierre Henry it is a fitting piece of work indeed. Yet the lack of human feeling continues to be a problem, and the unremitting bleakness of Oxymore – though accurate for our age – makes it an album for admiration rather than love.

Simple Minds, then, are in extremely rude health. Where once their lyrics spoke of international politics and far-off destinations, now they deal with matters closer to home in a refreshingly direct manner. More power to their maturing elbows.

The Car, the band’s seventh album (and is the exact same length as their second album Favourite Worst Nightmare to the second) is another step further into the cinematic world they created on Tranquility Base. ... This band have continuously captivating for nearly two decades now, and Alex Turner must be a generational talent. So clearly this is a great album.

We have an album that diversifies Jepsen’s sound in intriguing ways, while sounding a bit rough around the edges at times.

The songs often look upwards, preoccupied with celestial bodies as they speak of the moon, the sun and ultimately the stars, for which the music often pines.

If Dirt Femme is the sound of Tove Lo finding her feet, the future seems very bright indeed.

Mesmerising as the words and delivery are, the album is also musically excellent.

Like low hanging fruit plucked fresh from the vine, the bacchanalian temptations Daniel and collaborators such as Angel Deradoorian, husband MC Schmidt and John Wiese offer are a scrumptious treat in which to indulge.

FOREVERANDEVERNOMORE remains an engaging, expansive and thought-provoking album.

This is a sumptuous and rewarding way of spending 60 minutes. YTILAER shows how he keeps raising the bar creatively, consolidating his place in the upper echelons of alternative rock in the process.

Perhaps, but there do seem to be less of them these days, and Being Funny In A Foreign Language represents a gradual, encouraging maturation for the band.

Quiet The Room is the perfect introduction to Helen Ballentine’s hazy, dreamy world – a world you’ll want to spend an awful lot of time in once you experience it.

Coping Mechanism is full of feisty attitude, blaring guitars and rhythmically intense drumming, and sees Willow positioning herself as the edgier Olivia Rodrigo with mixed results.

There’s a lot to take in on Tableau – maybe, at times, almost too much – but it’s another solid record from West Yorkshire’s very own experimental art-poppers.

Some of these tracks are cruel in their brevity.

Throughout this eventful record Flohio keeps a clear sense of lyrical and stylistic integrity, and by the time Against The Grain’s glitchy percussion cuts out to reveal solitary reverbed chords we’re left with one of the standout rap albums of the year.

As a whole, it’s a robust LP, deeply in touch with the zeitgeist of an era marked by, indeed, surviving against, the odds. While surprises are few, fans will find plenty to satisfy here.

The constant barrage of guitar noise and distorted vocals can become exhausting, but those who stick with it will soon find themselves falling for one of the most compelling, magnetic albums of the year.

Even with 14 tracks, Blue Rev never seems to outstay its welcome. That’s probably helped by some curveballs that the band throw.

There are songs on N.K. Pop that stand squarely alongside some of Heaton’s best – he may have celebrated his 60th birthday earlier this year, but that famous fire of his shows no sign of being extinguished.

As with all Björk albums there’s a lot to unpack and it requires several listens before it all begins to fall into place but, once done, there’s a case to be made for this possibly being the best Björk album (and certainly the most animated) since 2011’s Biophilia certainly in terms of breadth, aesthetic and overall engagement.

The Bible, like a lot of Lambchop albums, probably won’t be to everyone’s taste – some may find the constant electronic treatment of Wagner’s perfectly decent singing voice to be a bit grating, for example. Yet it’s the sound of a man ploughing his own furrow, and producing yet another unvarnished gem of a record.

There’s plenty of ambient music that dwells in moodiness and tonal shade, but sunlight and heat like this only comes around roughly once a year.

It’s their shortest album to date – just eight tracks, with a little over 30 minutes for a running time – and, as with Mosquito, there’s less emphasis on Zinner’s incendiary solos now, in favour of a smoother, synth led sheen. When it kicks into gear though, they still sound magnificent.

It may be nearly 35 years since The Charlatans signed to Beggars Banquet, but for sheer scope and invention, Tim Burgess knows no bounds.

Not all their ventures are successful, but with a final play on words it’s more Power to Editors’ elbows, for once EBM takes a firm grip on its listener it does not let them go.

At other times these arrangements can feel a little staid, but that doesn’t keep Weather Alive from being an engrossing listen especially as Orton dominates the proceedings so expertly.

Branch’s lyrical savvy and clear communication keep it well clear of the mundane, though you get the recurring impression that she is capable of taking a few more risks.

Lyrically and stylistically our protagonist spreads her wings much further than before, making a statement of intent that confirms Sampa The Great is in this for the long haul. The sky really is the limit on this evidence.

The sheer brevity of the record means that it doesn’t really feel like a ‘proper’ record as such, but it’s still a lovely listen.

It’s simply another good collection of melancholic indie-rock – and sometimes, that comfort in familiarity is just what you need.

It’s imbued with a spirit and attitude that only the very best pop records have. Much like Dua Lipa’s incendiary second album Future Nostalgia it’s the sound of not just a step up but a whole leap to a new exalted level of pop excellence.

A band who, three decades into their career, still sounds as fresh and exciting as they did when they first began.

Expert In A Dying Field is the sound of a band going from strength to strength.

Diablo is a sonically powerful record with a clear sense of identity, and this helps to push past any shortcomings as Gurnsey remains a great producer and one to watch in the alternative electronic milieu.

At times, you do miss Romy providing the balance to Sim’s vocals, but this is, in its own way, as successful an xx side-project as the In Colour album has been. As an antidote to the long wait until the next album by the full band, this is a must listen.

If the sound of Beyoncé‘s similarly sonically adventurous Renaissance whetted your appetite for challenging, demanding soul, then Sudan Archives’ latest could be just what you’re looking for.

This is an astonishing debut album, one to immerse yourself in and live with for weeks, if not months – an intoxicating statement which announces one of Britain’s most exciting new bands.

Not all of the tracks are wholly successful, and on occasion the vocal clarity is hidden from view. Yet that barely matters, for the fierce spirit remains. Spirituals is both old and new at the same time – drawing on the human spirit, but using cutting edge electronics to do it. Playing to Santigold’s strengths through inventive beats and melodies, it is a fine return.

Despite the classic approach of most of the songwriting here there’s no doubt that it’s a step up in quality for Nesbitt and the result is her most assured and confident collection of songs yet.

A fair criticism might be that Let’s Turn It Into Sound is a little formless, reliant on the novelty of whizzing sounds and pomp-filled arrangements, but in the hands of Aurelia Smith these certainly have the capacity to amaze and astound.

An album which could well be one of the best released this year – and, in its pleas for solidarity and acceptance, one of the most important and vital records as well.

Jacklin has an uncanny knack for documenting her generation’s anxieties and issues, and wrapping them up in songs you’ll be humming for weeks. She is quite the talent, and going by Pre Pleasure, she’ll be around for quite some time to come.

Lyrically and (especially) musically, it’s business as usual on Will Of The People. It’s huge, over the top, and ever so slightly ludicrous – and yet, there’s an exhilaration about this band when they click into place.

Flood may not have quite the impact that her debut did, but it ably demonstrates why she’ll be around for many years to come.

Aitch clearly approached this record wanting to prove his staying power, and while he delivers some quality verses (and roughly an EP worth of great music) the fog of compromise hangs that bit too heavily.

Chaotic, energised and thrilling, this is Demi Lovato at her very best.

The fact that Nastasia has documented this period with such honesty, empathy and beauty makes Riderless Horse feel like a small, healing triumph of sorts, a quiet personal victory against overwhelming adversity.

Traumazine is a success in its own right, solidifying her position amongst rap’s big stars of the 2020s.

Despite the often heavy lyrical content, Lucky Me mostly sounds light and fresh – with perhaps only Leach’s self-loathing becoming a bit oppressive towards the end of the record.

This album is a pleasing, mature release, though a little more freakout wouldn’t have gone amiss.

With Cry Sugar we get a scrapbook of interesting ideas, diversions and pastiches from a producer with little to prove at this stage – it helps that Mohawke’s imagination and skill make the record great fun to listen to.

What is clear is that the band’s songwriting will never be short of heft, with the potential to rouse a festival crowd. The Alchemist’s Euphoria will definitely do that, especially the primal, chest-bared early examples – and so for now the band look set to begin chapter two of their story with a show of strength.

The sense of a missed opportunity lingers.

There’s barely a weak track on Surrender, and it’s a record that’s destined to appear on a lot of ‘end of year’ lists come December. The fact that this is only Maggie Rogers’ second album is astonishing, given the level of confidence and ability that shines through it.

Beyoncé mostly eschews polished vocal performances in favour of expression, with the intricate vocal runs that wrap up Plastic Off The Sofa a notable exception, and while the explosive final verse of Heated is being edited at time of writing its raw and spontaneous quality is intensely satisfying.

The general tone is low-stakes, suggesting that Bada$$ felt obliged to link the record to 1999 regardless of the content, and it lacks the impact he might want from his first release in five years. That being said, good taste in production makes it very listenable and his sound has evolved in an interesting way, meaning that ironically he’s not stuck in the past.

Hold My Baby emphasises King Princess’ position as one of pop’s most singular talents, but doesn’t drive home the point quite in the way you feel it should. Perhaps that makes it an even more interesting listen.

While the surprise and freshness of the Sticks ‘n’ Stones era is understandably a thing of the past, there’s more than enough on The Theory Of Whatever to show why Jamie T has had such longevity.

It makes for a decent companion record to Fear Of The Dawn but also works perfectly well as a standalone album in its own right. Two decades on, Jack White’s creative fire shows no sign of dimming.

Beatopia is an album which shows Beabadoobee still experimenting to find her voice – that doesn’t make it a bad album, rather a slightly uneven one. There are enough moments, such as the gently soaring See You Soon, which hint that she’s due to break out of her cult status and become a major star sooner rather than later.

The album rallies later on, as I Love Your Girl and When The Party’s Over are impeccable tunes that more than deserve their place, but Mabel’s dedication to the pure pop that gave her big hits in 2019-20 is now threatening to leave her somewhat faceless.

Generally though, World Wide Pop is full of inventive, bold pop music – sometimes sugary sweet like the acoustic led Crushed.zip, and sometimes big and anthemic such as the CHAI and Pi Ja Ma collaboration Teenager. And, as ever with Superorganism, it’s never, ever boring.

Hellfire is a superb and strangely seductive album that adds another gem to the crown of a band who are fast becoming one of the very best of their era. Mystifying, terrifying, essential listening.

The Other Side Of Make-Believe is a dependably great album from a dependably great band.

Overall, Pearson has produced an album with very few weak spots. It’s a record that takes the strengths of Return and builds on them, resulting in a work that, from the very first listen, you know you’ll be going back to again and again.

Two decades on, Formentera sees the band still going from strength to strength, evolving their sound as time goes on, while retaining all the elements which make them such an enjoyable listen.

Clever but debauched, silly but serious, this is the best album of their career thus far.

It’s probably the most accessible Soccer Mommy album to date.

This enchanting and deeply felt piece of work marks Gwenno out once again as a unique artist with much to say.

No one really shakes things up. Still, there are numerous moments of real beauty here.

It’s the sort of album which flows naturally along, with not a song, or even a lyric out of place. She’s been flying under the radar pretty consistently for a decade now, but if there’s more records of the quality of The Spur, more people will inevitably fall in love with Joan Shelley’s music.

Here is a songwriter effortlessly recounting his joys of youth and getting lost, and in the process finding himself through a set of subtle musical gems.

There’s a massive amount of power and feeling in the music but perhaps even more of an impact is in the feeling of expressionism and freedom that it represents. In forcing herself to look at who she is as an artist and explore new ways of creating Zola Jesus has firmly taken back her power and forged a new way forward out of the darkness.

From start to finish, it’s a thrilling ride with some important messages of determination and empowerment that swirl above annoyance, frustration and resignation. Once again, the Berlin-based Newcombe has crafted yet another worthy addition to his portfolio.

‘Flicted is one of the more positive responses you will hear to the pandemic, and it continues Bruce Hornsby’s rich vein of form in recent years. ... It is giving Hornsby some of the best music of his career.

The main issue that dogs this album is weak composition – few of the ideas are outright bad, but they don’t earn their runtime.

As there is little deviation, you wonder if the band had control with the various producers largely going along with what the band wanted rather than trying to exert their own influences over the record. Whilst it does work at times, Life Is Yours will probably find itself confined to the list of also-ran albums of 2022 as a whole.

Magic Pony Ride might not be the most ambitious record in the world, or in Paradinas’ discography, but the music accomplishes its stated goals and is enjoyable in the process.

This album’s half-in-half-out approach is unsatisfying.

There will be parts of this album’s roots that those outside Mali can never fully comprehend, but regardless of your entry level, you’ll be certain that those roots are still strong and bearing exquisite fruit.

The only problem with Inside Problems is that it’s possibly too arch and mannered to appeal much beyond those familiar with Bird-lore.

A perfectly paced album, but despite the elegant sequencing, there are definitely tracks you’ll come back to far more than others.

It’s a record that’s testament to going through hell and coming out the other side. It’s also an album that confirms Angel Olsen as one of the foremost singer-songwriters of her generation.