[The] duo show a passionate reverence for the album format, from the artwork that took over 18 months to create to the songs that boast both style and substance. It’s one of 2024’s most engrossing listening experiences.

Marrying the street level to the grandiose was always the Pet Shop Boys’ MO from the start, and over forty years into the career, ‘Nonetheless’ is the sublime sound of pop’s standard-bearers continuing to hone their craft.

A brilliantly inventive record that concludes with a bit of sarky musical theatre (which may be aimed at Adamczewski). Saoudi has hinted that this could be Fat Whites’ final album. If so, they’ve gone out on the most surprising note of all.

In ditching the artifice, Annie Clark has made her most generous and open statement yet.

Ultimately this record lacks the genuinely interesting shifts that have punctuated Swift’s career so far, from the lyrical excellence on her superior breakup album ‘Red’ to ‘1989’’s pivot to high-octane pop.

These are some of the most interesting and sonically varied songs of her entire career.

Not only does it showcase Pearl Jam reclaiming the charm that first made them a force to be reckoned with back in 1991, it comes alongside some of their most impressive musicianship yet, as well as a determination to take risks after years of playing it safe.

‘I’m Doing It Again Baby!’ is a fine album; it’s fun and sweet, if a little bland. It’s a pristine pop record that takes few risks and leaves little room for error – though it might be more interesting if it did.

On her debut album, they all blossomed into a rich, self-reflective record that shows the artist beyond the beats.

‘Don’t Forget Me’ shines in its simplicity, with Ian Fitchuk (Kacey Musgraves, Stephen Sanchez) as the sole collaborator. Here, through a whole-hearted embrace of the folk, country and Western that underscored her upbringing, Rogers’ seems more at home than ever. Yet, ‘Don’t Forget Me’ exists as a meticulously crafted homage to the road trip.

Ultimately, ‘Abomination’ feels like the first leap Lynks has taken into showing all their dimensions as an artist. It’s a refreshing change of pace to hear them not just deliver club classics, but also let their spiky persona begin to soften a little. .... The result is a thrilling, moving, life-affirming listen.

What you have in ‘This Could Be Texas’ is everything you want from a debut; a truly original effort from start to finish, an adventure in sound and words, and a landmark statement.

Gray’s newfound penchant for ’80s pop doesn’t come with a notion of irony – he’s fully embracing even the era’s most ostentatious elements. But despite his own sincerity, there are moments that drift closer towards a caricature of the era than a true homage to the decade’s most innovative pop.

Variety keeps things interesting, but it also allows the duo to flex their musical muscles, and they’ve traded in some of their previous blistering punk for a more relaxed pace on certain tracks, but without sacrificing any intensity.

Nothing on ‘A La Sala’ feels phoned-in or anonymous. Khruangbin occupy a unique lane that satisfies obsessive crate-diggers and casual festival-goers alike.

Lyrically, then, it’s a record characterised by its pessimism, yet musically it’s among their most joyful.

What they have done, though, is find their voice again, and, for the first time in over 20 years, The Libertines feel like a band with a viable future.

This is a pretty good Black Keys record that chiefly serves to underline how wedded they are to the fundamentals of their own process.

The production alone is noteworthy, painting a portrait of richness and precision that highlights Beyoncé’s peerless vocal range. .... It’s an undeniable thrill to see her swing so big on a project that dares her to be so intimate and vocal-focused, while making way for country’s up-and-comers too.

Viewed in isolation, ‘Heaven’ is a pretty sublime pop-punk record. Its little brother, ‘Hell’, yields more mixed results, continuing the metal-infused sound Sum 41 have veered towards in recent years.

What solidifies ‘Mother’ as an excellent debut is Poulter’s openness to embrace a myriad of influences, from UK funky to disco and ’90s house. To produce good dance music means keeping the sensations alive on the dancefloor; ‘Mother’ highlights the multiple ways the club can be enjoyed.

Through sheer faith and tenacity, Tyla anoints herself as South Africa’s brightest new star, reinforcing that amapiano was never a ‘moment’ – and only ever a true movement.

Returning with her sixth solo record ‘Bright Future’, the Big Thief frontwoman achieves a newfound lyrical self-assuredness here.

With this vulnerable yet versatile collection, Shakira shows there are no limits to the art of her catharsis through song.

‘Audio Vertigo’ is their best record in years, and one to blow the cobwebs off some sleepy arenas this summer.

These songs offer a more adult and grounded perspective than ones like ‘Lone Star Lake’ and ‘Evil Spawn’; they’re about the person who feels like home rather than the one who gets your blood pumping. It’s a nice counterweight that feels emblematic of ‘Tigers Blood’ — it’s a burning fire, and it’s a warm summer evening at once.

A joyous and compassionate return, ‘Real Power’ proves that Gossip’s clear-headed maturity has ensured they achieve its titular sentiment.

Musgraves’ assertiveness feels like a real glimmer of light amid the sparse compositions that run through this thoughtful, imperfect, down-to-earth record.