[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.

Clocking in at a slither under 77 minutes, ‘Everything I Thought It Was’ is a slog enlivened by some surprising moments.

Playful and sincere, mature but childlike, featherlight and occasionally heavy, this assured record sees Whack pull off a Jenga-like balancing act.

It’s the most sophisticated project yet from a preternaturally talented vocalist who keeps getting better. Whatever you take away from it, ‘Eternal Sunshine’ definitely isn’t an album you’ll want to wipe from memory.

Not all of these experiments quite come off: the industrial clang of ‘It’s Dark Inside’, on which she drawls, “they don’t teach clit in school / Like do Lit”, veers close to ‘Yeezus’ parody. It’s notable, though, how contemporary her distorted art-punk sounds.

The Lana Del Rey-featuring ‘Alma Mater’ is another prime example of the Bleachers genius, ‘Tiny Moves’’ glistening undercurrent sounds like a sprinkle of magic, and ‘Jesus Is Dead’’s whispered indie rock assessment of New York micro-scenes and life in a band is pure gold. In those moments – a large chunk of this album – any hint of fatigue is blasted away, Antonoff’s presence a welcome one once again.

Where’s My Utopia?’ marks an outlandish yet assertive second chapter for Yard Act, going toe-to-toe with the peculiar world that we find ourselves in.

Obviously this isn’t a ‘Definitely Maybe’ or ‘The Stone Roses’ – no-one could touch those hook-laden masterpieces. As a triumph of style and mood, though, ‘Liam Gallagher John Squire’ is well worthy of their enduring legacies.

This record is the perfect display of how to make grown rap music without soiling a legacy that has taken decades to build. If this evolution continues, Ghetts may finally produce the classic album that has escaped him thus far.

A career-best statement of Shah’s songwriting prowess, where inner struggles are rendered with maturity and relatability, supercharged by a fearless, expansive sonic palette.

‘Loss of Life’ is imbued with just enough sweetness that by the time it reaches its overarching message – “nothing prepares you for loss of life” – it doesn’t just make you want to prepare yourself, it makes you excited to do so.

Crawlers reaffirm their place as one of the young guiding lights in British guitar music.

Witty and sardonic, Lime Garden’s lyrics would feel at home on any great sprechgesang record: “Tried to get surgery to see her how you see,” they sing on the latter. Yet the band’s exuberant sound marks them as their own distinct entity; entirely within their own league.

‘TANGK’ is an adventure into pastures new. Talbot is keen to put arm’s length at the material that exorcises his past traumas and battles with addiction and general frustration at the modern malaise. Now’s a time of appreciation and restraint.

‘Vultures 1’ might not be the total dud that could put Kanye’s career six feet under, but it is far from one of his best efforts either. It’s more cohesive than ‘Donda’ – although that’s not hard, given it’s about half its length – and includes some well-curated guest spots from Travis Scott, Playboi Carti and India Love.

On ‘What Happened To The Beach?’, perfectionism is released to make space to revel in creativity, resulting in a truly joyful effort.

Everything from psych-jazz, electro-funk, soulful house and the occasional rocker gets a look in here. In lesser hands it’s a right old mess, but not in Howard’s.

Fantastic songs that are easy to embrace and return to.

Some other stylistic choices prevent ‘New Last Name’ from being the disruptive moment it clearly wants to be – ‘Flex’ and its nod to ‘Mr Brightside’ (“now she’s calling a cab”), doesn’t quite land – but the album’s overall vibrancy doesn’t dim on repeated listens.

While NewDad might not be as structurally inventive as the power-pop-indebted Hotline TNT or as heavy as the nu-gaze-leaning Fleshwater, they are perhaps more streamlined and together, which counts for plenty. ‘Madra’ is the sound of a band who have reckoned with where they come from and used it to map out where they’re going.

There’s no question that Herring still writes songs capable of evoking strong emotions, but this time around they can occasionally feel too twinkly and repetitive. What’s missing is some risk-taking; unpredictable production flourishes that could better reflect the overall mood of the album and all the ambiguities that accompany a major life change.

Where previously the comparisons to their Radiohead catalogue could warp expectations, the breadth of the material on offer here suggest that it could, eventually, flip that dynamic right on its head.

It emboldens its listener to feel power in confronting the uncomfortable feelings, and encourages them to absorb every emotion along the journey. It is a shining glimmer of hope in a room full of sorrow, and another string to their ever-growing bow.

We’ve been overdue an election-year statement record from the trio, and ‘Saviors’ gives it a good crack. .... Of course, the record is a good romp too.

Though the romantic elements of ‘Discount De Kooning (Last Man Standing)’ are nice enough, it fails to penetrate in any meaningful way. As the record meanders on, tracks such as ‘The Dreamer’ and ‘Anonymous In Los Feliz’ fail to leave a lasting impression. That’s not to say it doesn’t work. It might not offer anything new, but it doesn’t necessarily need to.

Through her boundless ‘Orquídeas’ albums, Uchis blossoms into a fearless pop ambassador at the forefront of breaking down the divide between music in English and Spanish.

He might not be the steeliest careerist, but the lad from the Wirral has clearly thrown everything at this masterful record.

The result is an excellent follow-up to the breakthrough that was ‘Any Human Friend’. Hackman raises the stakes in her music in a way that feels natural; it is conceptually bigger and more creatively mature, while the songcraft makes this transition feel earned.

This is a dynamic album that is reflective of the muddled world we find ourselves in – delivered with a fortifying sense of honesty from an essential emerging band.

McRae is evidently still wrestling with her ambitions. ‘Think Later’, however, contains enough intrigue to suggest that this is the work of an artist finally honing their identity, dancing and sparkling all the way.

‘Pink Friday 2’ feels like a consolidation and refinement of everything Minaj can do – including dropping pop culture references that no other artist would think of.

It’s not until ‘Kids Are Growing Up’ the album’s 20th and final track, that Howard attempts to reflect on anything but heartbreak and fame. .... It feels like an emotional breakthrough for Howard, but it comes just a little too late.

The collection is more of a mood piece than of noticeable, memorable songs.

Despite the odd unfortunate guest, ‘Rockstar’ is as bursting with life and positivity as the woman who made it.

‘Quarter Life Crisis’ moves between moods that translate to bright, Day Glo colours (‘Kid Genius’) or dark goth accents (‘Die Alone’). But the former can often turn grating.

Ultimately, what makes ‘Heaven Knows’ such a compelling debut is its ability to create British wistfulness. The emotions and sounds are familiar enough to pull you in, and peculiar enough to make you stay.

While not teasing her next chapter, in her quest for more, Maidza has crafted a collection of perfectly constructed songs that encapsulate her karmic truth: that living well is the best revenge.

The 2020s have found their pop king and ‘Golden’ more than secures him the throne.

Much more than a remix album, then, the sheer invention and thirst to push things forward demands that I<3UQTINVU’ must be considered as an entirely separate, and brilliant, full-length Jockstrap album on its own terms.

‘Venom’ is a consistent album that builds on last year’s teaser project ‘EXPLICIT: The MiXXXtape’, but this time with a significantly raw feel.

It all comes together to make ‘Madres’ a true love letter to the varied, invigorating sounds that have shaped Kourtesis.

You can’t help but hear Burton’s confidence growing across the album’s running time, his potential still untapped and with room to grow. In this latest soul revival, there’s no denying that Black Pumas are at the forefront and on the prowl for more.

‘Now That We Don’t Talk’ is the Vault firecracker. Not only does it fizz with ‘80s influence, but Swift’s versatile, honeyed vocals are stellar. .... The sweeping, evocative storytelling of ‘Suburban Legends’, meanwhile, calls back to the evocative detail of Swift’s previous eras, including mentions of mismatched star signs, class reunions and a ’50s gymnasium. ‘1989 (Taylor’s Version)’ feels more symbolic than her previous re-releases.

‘God Games’ serves as a testament to their new era, one that sees them push each other out of their comfort zones and explore new ways to keep adapting their iconic sound, providing a grand and edgy comeback that is as fresh as can be.

Danceable yet thoughtful debut album.

Ignore the flippant title, there’s material on ‘The Rest’ that could have fought hard for space on their debut album.

Their most daring and collaborative record to date. Featuring the likes of Damon Albarn, Holly Humberstone, Jay Som and, er, Chaka Khan, the results are as eclectic as this list would suggest, spanning across indie, pop, hip-hop and even garage.

The issue is, however, that it’s perhaps lacking in variety. Although the rocket-fueled, lightning-paced ‘More Than You Know’ and the gently atmospheric closer ‘Childhood’ do offer changes in pace, there’s only really subtle things differentiating many of these songs from each other. Sometimes, the hooks aren’t as strong as they could be.

While ‘The Darker The Shadow’ is ambitious, packed with witty, insightful commentary on the human experience, its conceptual focus allowing plenty of scope for creative flourishes, it ultimately lacks the incisive punch of his earlier songwriting.

The club bangers lack the oomph of his past singles and the lead-out tracks, ‘Fan’ and ‘Worth It’ are criminally limp. .... Eventually, the vulnerability shines through.

As good as it is, ‘Hackney Diamonds’ does have bad spots. Country honker ‘Dreamy Skies’ would’ve sounded outdated in the ‘70s – and even a cameo from founder bassist Bill Wyman can’t save punk-y cringe-a-thon ‘Live By The Sword’, another victim of Mick’s interminable Johnny Rotten impression. Those low points are thankfully scarce, fewer and farther between than on anything this side of 1981.

Through his sprawling and ambitious album, Bad Bunny spins the trappings of fame into Latin trap gold, and, as his album title promises, he continues to blaze his own trail with big carpe diem energy.

In pursuit of an authentic sound, Humberstone proves that she’s not only inhabiting her own space – and beckoning listeners in – but also building out the walls.

It’s an album that fully appreciates that life’s highs and lows are hopelessly intertwined, which only makes them more beguiling. And above all, it’s a strikingly vital pop album charged with love, lust, sweat and regret. You won’t need a bosh of poppers to feel thoroughly intoxicated.

CMAT will have you in stitches one second and emotionally suckerpunched the next. It’s brilliant. Inventive, intoxicating, deliciously camp – she continues to transcend all expectations and remains absolutely unmatched.

For All The Dogs- his third solo LP in as many years – not only feels tiring, but sounds tired too.

Perhaps V made us wait for this one, but it was thoroughly worth it.

It’s a return to “full singer-songwriter” Stevens, in a way, but by bringing together sonics from throughout his career and coupling it with frank and intimate lyricism, the gorgeous ‘Javelin’ feels like a fresh take from the cult hero.

The album, frustratingly, proceeds on a perplexingly flat note. Clocking in at 14 songs, one wonders if the ferocity of ‘Grooming My Replacement’ could have completed a memorable ten-track collection, with the final few tracks lacking that consistent cutting edge.

The nuance and specificity of his last album’s songwriting is largely absent; instead ‘Autumn Variations’ is akin to aimlessly swiping through Instagram, blurry snaps of followers’ leafy happenings whizzing past in a distracted daze.

‘Sorry I’m Late’ is a lot more fun when it stops trying so hard to prove itself.

From the mesmerising opener ‘Try Me’ to ‘Little Things’, a nod to UK funky that has potential to rival ‘On My Mind’ for her biggest dancefloor heater, ‘Falling or Flying’ reveals itself much like Solange’s 2019 album ‘When I Get Home’: an uncompromising and arresting treasure of a record.

Sanchez’s gorgeous vocal is what truly stands out.

Ultimately, ‘Tension’ plays like a fun, flirty night out with an old friend who isn’t the kind to burden you with her problems. Whether you’ve known Minogue for a lifetime – or just since ‘Padam Padam’ – you’ll want to lace up your dancing shoes and join the party.

It all adds up to an overlong, slightly repetitive but ultimately compelling album of two halves.

It’s an impressive step-up from an artist who was already operating miles ahead of their peers. ‘soft scars’ can be an emotionally excruciating experience, but it finds yeule connecting with their humanity in ways that seemed impossible just one year ago.

With little allegiance to one particular sound, expansive love for their heritage and bold statements in each track, ‘Chai’ is a bright declaration from a band forging their own sonic path forward all while acknowledging where they came from.

Never afraid to push boundaries or show vulnerability, James creates a compelling world of sound with ‘Gentle Confrontation’, and does so with grace. An incredible achievement.

With their third album, Nation Of Language prove their able to stretch their auditory imagination, all while sticking to their roots. In just 10 quick tracks, the NYC band demonstrate that their reminiscent sound has always been more about the future than the past.

The tightness of ‘First Two Pages…’’s singles like ‘Tropic Morning News’ and ‘Eucalyptus’ are somewhat absent, though the looser structures and decision to allow the songs room to grow, melodically and lyrically pays off.

There’s one too many generic, string-laden ballads, and a stop-start feel to the record, a frustration given how enlivening its highs are. But if anything, it feels like a record Beer has been desperate to make since the very beginning: she’s come a long way in her time in the spotlight, but now we’re finally getting to know her true sound.