Sorry have somehow managed to mould something immediate and accessible but undeniably in their own image. It’s a truly special debut, one that makes strange magic at every turn.

This is a gorgeous album of soundscapes that are able to stand up alone.

Lonerism is an absolutely amazing and inspiring record.

A bright and inviting pop album that brilliantly captures the emotional snapshots of life.

As a first collection of work from the band this is a stunning release, bursting with life and creativity and fully deserving of the attention and praise that is bound to come its way.

It’s early to say, and its bold for sure, but there are a fair few legendary bands out there that were never quite as good as The Murder Capital are right now.

The Center Won’t Hold is by far their most stylised, radio-friendly work to date; produced by St Vincent, Annie Clark’s icy sheen and dark seduction is all over the record.

There’s a power that comes from laying fears and anxieties out, admitting that answers can’t be immediately found. Cannily similar to the progression of The Japanese House’s music over the past few years, this exact approach has led her to a magical debut.

There is a genuine timelessness to the thirteen tracks of ‘Everything Harmony.

‘I Love You Jennifer B’ feels like everything that’s come before has just been a trial run. It’s bolder, more rewarding, and so much more cohesive.

Much like what has come before, it’s in this melancholic in-between that ‘Little Oblivions’ finds its voice; a soundtrack for those searching for hope in difficult times, particularly when the wider world has removed easy distraction from the pain.

Throughout this 21-track pop odyssey, Lauv shows just why he’s considered one of the finest pop writers around.

Succeeds through the sheer brilliance of its songwriting and the trio’s palpable love of their craft. While perfectly capturing the zeitgeist, HAIM carry the passion, creativity and joy to also cement ‘Women In Music Pt. III’ as a timeless classic.

Ghetts secured his place in the conversation around the greatest UK rappers years ago; ‘On Purpose, With Purpose’ sets the bar higher once again.

Surpassing the hour mark with some space yet to go, the record provides an expansive canvas for Sufjan to critique the flaws of humanity, at the same time finding room for the inward focus that made his previous offering so compelling.

‘Carnage’ is a jewel in the Cave-Ellis cannon. A thrilling piece of work that sources a sweet-spot between the unbound introspection of the Bad Seeds’ recent work and the furious fire lit beneath Grinderman and The Birthday Party.

Rise Ye Sunken Ships is a monster of an album, rich in credibility and one that is often raucous, but never noisy.

Jenny Lewis has never sounded this confident in her own skin.

Omnion can feel somewhat familiar musically and while it’s unlikely to break the ground of earlier releases, nor does it need to--Andy Butler has carved out a unique space that he’s remained true to, with little desire for reinvention.

There are strokes of brilliance on Twin Shadow's second full length, 'Confess', as Lewis Jr. blends 80s influences with dashes of funk and pop to create a largely cohesive record that is steeped in lustful atmosphere.

A dystopian, focused pessimism that sounds (unfortunately) exactly like the world outside, but doesn’t sound quite like another band on the planet. A perfect soundtrack to nagging doubts and creeping realisations.

Opener ‘Happen To Me’ has echoes of The Japanese House’s introspection, and the acoustic nature of ‘Same Effect’ and ‘A Little While’ bear more than a passing similarity to Billie Eilish’s quieter moments. Add to that the cosign of alt-pop foremothers Lily Allen (‘Plain’) and Grimes (‘Sheesh’) and BENEE’s on to a winner.

Throughout, keys shimmer, the production is bright and sky-facing, with an emphasis on synthetic beats. It makes for an album that’s unsubtle and all the better for it.

Korn are anew, and ‘Requiem’ sees them fearless, no longer managing a balancing act with imprudent collaborators and instead embracing what made them famous to begin with. Impressively, their 14th studio album is teeming with riveting hooks.

With PUNK, CHAI have defied all expectations, decreeing that everybody to them is cute--and they don’t need to be.

Filtered through a dispersing wall of glistening synths and trippy haze, Ester is a sonically rich debut.

With new tools, they’ve taken liftoff from a proven formula when they really didn’t have to.