Sampha’s journey to now has developed a wonderfully versatile artist, and on Process he succeeds in tying these strands of his musicianship together into a record that’s concise and focused.

Despite its flaws ‘Blood Bunny’ does a great job to showcase what this bright young star has to offer.

A luscious album that sees the singer shrug off the pressures of present day virality in favour of creating something much more classic.

‘Razzmatazz’ is fun, flamboyant, and entirely of its time. A record that truly lives up to its name.

Whilst Heems’ verses amble along with wry humour and charmingly lazy wordplay (“Inshallah, mashallah, hopefully no martial law”), Riz MC’s (actor Riz Ahmed) are typified by a razor-sharp flow, as fast as it is furious, and breathlessly references the refugee crisis, Aeneas from The Iliad, Trump and his film career in short order, before throwing down that he “run[s] the city like my name’s Sadiq”.

It’s not a light listen, that’s a given, and Frye’s perplexing outlook on everything is the record’s only consistency over nine tracks. But those open-minded enough to explore Frye’s dystopian world of disgust and despair will find themselves ultimately wearing a shit-eating grin by the time it’s all over.

Lo Moon is a daring and complex debut album scored through with emotional tumult and a nuanced understanding of the groups that have inspired them.

It starts with a slow drip and builds to a raging flood. It’s irresistible and so eloquently convincing that despite their claims of failure, Protomartyr are unstoppable.

‘Growing Up’ they easily cement themselves as far more than a viral moment, pairing political and social charge with a suitably playful charm. Opener ‘Oh!’ delivers a powerhouse homage to the band’s foremothers, highlighting ‘Growing Up’’s clever balance between frivolity, passion and skill.

Even if you weren't a fan of their last couple [of albums], there's definitely going to be something for you here. As soon as the synth kicks in for opener 'The Theory Of Relativity', you know you're in for a treat.

It’s uncompromising yet nonetheless inventive, with eccentric flows and inspired production choices.

FROOT finds her at her most accomplished and intriguing.

Mouse On Mars are returning in triumphant and rapturous fashion, both sealing their reputation as relentless innovators while basking in the glory as beacons of inspiration.

A tour de force of Eagulls' brash and brazen-faced formula, this is a record that’ll be ringing in your ears for days after it’s finished.

It’s the kind of stylistic pick’n’mix Mykki has made their name on: ‘Ketamine’ with Slug Christ nods to the latest iteration of pop-punk; ‘Your Love Was A Gift’ shows a fragility to Dianna Gordon’s vocals amid ghostly production; ‘Trust A Little Bit’ shimmers with a tender nature. And best of all, it works as a whole.

Tell Me If You Like To possesses the same breakneck speed spirit of their first steps. But it’s also a full-bodied beast, the sound of a band racing to the finish line to accept their prize.

What Clams Casino specialises in and what makes this record a success is his ability to seemingly carve beats from ice, so cold is the production. His signature sounds otherworldly, with the breathy synths and crisp bass a soundtrack to some interstellar gang warfare.

The result is that it all, somehow, sounds bizarrely natural. Landing in the unique middle ground between the ’70s warmth of Todd Rundgren (who lends guest vocals as Shane’s dad, of course) and Little Shop Of Horrors, Go To School is a genuine original.

[Missing U's] Thudding kick drum pounds away underneath defiant lyrics of heartache, and it’s as affecting as she’s ever been. It’s the rest of the record, though, that really excels, pointing the way forward for an artist changing her tune.

It is a fine album. Pointed without being preachy, cerebral without being inaccessible and never anything less than thrilling.

For the most part ‘Dance Fever’ is an expert revamp from one of alternative music’s torch-bearing misfits, a welcome shot of fairy-tale hedonism ripe for post-pandemic dancefloor indulgence.

Though a long time coming, it seems that not rushing a follow-up has allowed London Grammar to craft a record that’s hauntingly stark, yet staggeringly beautiful, possessing a rich musicality that even now, is mature beyond the band’s young years.

A truly astonishing, unique and unchallenged sound.

It all works together, amping up the winking, cheeky side of country while also showing CMAT to be an artist enthralled by the genre but not beholden to it.

Ten tracks of orgasm-loving, empowering anthems, that pack a punch musically as well as lyrically, what’s not to love?

Arc sees a stripped-back, 'more accessible' band.

Expanding upon the electronic foundations laid so deftly with EP ‘Hallucinations’, there’s an assuredness to PVRIS’ latest move - especially during the affirming closer ‘Wish You Well’ - that shows off just how much she’s conquered.

The variety of the record is tied together with a strong story-thread that prides itself on being cohesive.