Whilst other songs such as ‘Turning Onto You’ don’t particularly inspire and feel somewhat under-produced, the album remains pensive, zesty and delicately crafted. This is truly an album to draw comfort from throughout winter.

Overall, ‘Makes Me Sick, Makes Me Smile’ is beautiful, explosive, and honest – and a stunning debut for Pretty Sick.

‘Actual Life 3’ confidently guides us into an exciting future for UK club culture and encourages us to never forget what we nearly lost.

Continually criss-crossing over itself, ‘I GOT ISSUES’ remains terrifically entertaining. ... Perhaps uneven, the record’s 14 track span provides room for growth.

Rich, warm and deeply immersive, ‘Datura’ is brooding proof of a band refined.

With most of the numbers coming at you like a Doc Marten to the face, a change in tempo is appreciated on the appropriately named ‘Slow Burn,’ a wonky gothic riff adding some atmosphere before the inevitable loud chorus.

The truth is that in matters of injustice, anger is one of our most powerful tools and with it ‘Hugo’ showcases an essential part of the depth and criticality Loyle Carner possesses as an artist.

This is a punchy record sure to spark some vital debates, as well as having a solid slew of crowd-pleasers.

‘The Loneliest Time’ feels a far cry from the saccharine star that launched Jepsen’s career but proves her musical pliability.

As a diary entry, defined by dark nights of the soul and cast in the same bluish-purple hues, ‘Midnights’ offers little of revelatory purpose to those who have yet to succumb to Swift’s charms. For those already swayed by her craft, however, it may reasonably go on to be recognised as her best album to date.

‘Apocalypse Love’ is a primal cry, a maniacal love letter to their sonic anarchy and the unpredictability of the world we live in. It’s a discordant record, swerving through genres and emotions at breakneck speed, but that’s what the Black Lips are all about.

It captures the trials of his journey so far whilst celebrating his current success and the gross potential to do even more. The collaborations are authentic and humble, apt for the LP’s subtly intimate nature. Lil Baby has set the tone for his next phase.

At times, ‘Only Built For Infinity Links’ leans too heavily on the past, and comes close to being simply Migos without Offset – as opposed to a project with its own taste and flavours. At its best, though, the record more than justifies the excitement – the post-Migos landscape is looking very inviting indeed.

‘Stay Close To Music’ is, in all sincerity, a masterpiece that seeks to amplify the voices that have been pushed aside for far too long.

This album is, to be clear, an ambitious, stylish, coherent work of fine art. ‘Tranquility Base…’ grew on me, this may too. But I can’t help but feel that with ‘The Car’, Arctic Monkeys have taken a wrong turn.

Element, and devoutly ambitious, it’s a record to be absorbed at its own pace.

The band promised that they weren’t going to play it safe with this record, and it seems to have paid off.

A revealing, continually powerful set of songs, ‘Here Is Everything’ is a fantastically engaging experience, arguably the strongest set The Big Moon have placed their name against.

‘FOREVERANDEVERNOMORE’ is nostalgic, melancholic, hopeful and hopeless, existentialist and nihilist. Brian Eno is one of the few artists who is able to convey the things he does by using so little, and ‘FOREVER’ is a prime example of his mastery.

Malleable, accessible but equally polished and bold, ‘Capricorn Sun’ will no doubt propel TSHA into new environments and challenges.

Never once is Jean Dawson restricted by any instruments or styles. Instead he crafts a nostalgic, and sometimes aggressive, world, matched beautifully by the well-thought-out visuals. It took everything that made ‘Pixel Bath’ so incredible and just elevates it. 8/10

‘Tableau’ sees the The Orielles venture into the unknown, with the sole ambition of testing their limits (or lack thereof). They succeed, resurfacing with new vision, and setting an example of what can occur when artists have the opportunity to revel in full, untethered, boundless creativity.

‘Being Funny In A Foreign Language’, like most of their projects, has something for everyone, but this time does stay in one lane – and that’s for the better.

Out of devastation, Loraine has pieced together an album to cherish.

A challenging yet continually beautiful project, ‘In These Times’ contains a terrific sense of unity, one that belies the lengthy manner of its gestation. An ode to community, it’s a record that carries a very special charm.

‘SUCKERPUNCH’ sees Chloe Moriondo at their most daring and most confident on what is by far their most creatively impressive album to date.

The album shows The Cult taking their musicality, sonic tricks and experience to a new place, still retaining their identity, and this can only be a good thing.

FLOHIO’s debut shows a willingness to step out the boundaries like few other rappers, and she’s got the power to prove it. Out of Heart plants well-intentioned seeds; with some refinement, FLOHIO has a real shot of some bangers to sow.

In spite of much of ‘CHARLIE’ missing complexity or a distinctive flair, the album remains punchy and bright and what Puth lacks in poetry, he makes up for with glimpses of pure pop excellence.

‘Blue Rev’ is a magical, twisty excursion to a crossroads where the band simultaneously reflects on yesteryear and explores the turbulence of divergent realities.

Fuelled by rapturous and disjointed guitar work and bittersweet lyricism, this record will easily be in the running for one of the best records out of the UK this year.

‘Cool It Down’ feels defined, succinct in a way that suggests complete confidence – it’s also a weakness. A smidge over 30 minutes, and with only eight songs, it already has you yearning for what might come next.

Peppering the underground with some of its most influential cuts, each new project has taken him closer to his goals – hell, he’s even nailed a Grammy nomination. ‘$oul $old $eperately’ works emphatically to bring these elements together and push them to a new level.

Overall, ‘The End, So Far’ is a remarkable punch of sharp, sobering heavy metal. Slipknot yet again thrive in their signature darkness – however, there it no doubt that this album would be elevated by more cohesion.

‘Doggerel’ isn’t a bad record, it’s just missing the audacious grit that is so entwined with the bizarre charm that makes the PIXIES so remarkable.

To hear someone so comfortable in their own creative process, binding the childhood inquisitiveness that’s never left them to the artistic confidence that they’ve developed over more than three decades, is a delight and a privilege.

Polished production all around allows the band to really bring a twist to their previous music. Simple bass lines and drum beats are easily forgotten about, but the band use this to their advantage throughout the seven track production.

Beautifully accomplished, ‘Weather Alive’ stands as an imposing career-high by a fine, fine songwriter.

JID’s latest release is a wonderful insight into the rapper’s formative years, and ultimately through the introspective manner allows for an enthralling listen.

He seems to explore his craft, experimenting with electronic instruments throughout each track, yet stays close to home.

Maya Hawke plays with vulnerability and honesty throughout ‘MOSS’, creating a compelling, delicate and melancholic listen.

On the surface, a hyperpop post-punk album should never work. But somehow, by some distorted miracle, Courting pulls it off – in the best way imaginable. In a landscape of so many albums regurgitating overbaked sounds, Courting have redefined guitar music. Instead of using the guitar as a songwriting tool, they use it as a weapon.

‘EBM’ is full of stadium-ready anthems and is a riveting, celebratory and bold musical odyssey that is both glorious and gritty in equal measure.

The songs have been reinterpreted and elevated by Khruangbin’s sonic retexturising and takes the listener through a technicoloured journey of Ali’s most-loved classics and B-sides from his extensive catalogue.

While the singles may be his most commercially appealing to date, he never once loses integrity or his aural signature as an artist.

A record that alternates between the playful and the emotive, ‘My Boy’ thrives on the songwriter’s restless creativity, while never truly settling into one sphere.

‘Born Pink’ gifts fans a mixture of commanding hip-hop tracks, satisfying pop tracks and affecting piano ballads.

Though the days of the jangly, innocuous Britpop they were so integral to establishing are gone, Suede haven’t lost their roots – they’ve just re-established them for a new era.

The Mars Volta have hit upon an incredibly surprising new phase in their multi-faceted evolution.

This fascinating collection of spirited hooks, and deeply heartfelt lyricism, cleverly blends high-tech energetic synths, quick wit, and trippy guitars into something you weren’t quite expecting. Arguably, the result is a much bolder record than his last solo debut ‘Twenty Twenty’.

‘SPARK’ reinvents Whitney as a contemporary syndicate of classic pop and their third album is an impressive, bold and contagious body of work that is more candid, emotional and contemplative than ever before.

This sophomore LP does a bit of everything, but this time around feels more refined, consistent and polished: exactly what a follow up should be. And on a label roster saturated with enormous amounts of talent, Rina Sawayama is making a pretty good claim to being the ruler.

Sudan Archives is proving that she is an artist who knows no bounds, and projects like this one are what is going to propel her further into acclaim and stardom.

It carries a deeply insidious atmosphere, never revealing what is coming round the corner before exploding into either a flurry of motion or into a whispering, ephemeral moment.

A successfully adventurous debut that bears countless relistens.

The soul tradition turns once more, and this evocative, moving record is leading the way.

Wanting more of something is hardly the worst criticism to be leveled at an album. With this long-awaited release, Santigold has once more shown the world she’s one of the game’s most unique, imaginative, and fun creators. It’s good to have her back.

‘Curtain Call 2’ is at its most engaging when the Detroit figure simply cuts back on the Billboard tie-ins, and reminds us all why he became such a revered rapper in the first place. ... As a project, however, ‘Curtain Call 2’ is weighed down by its flaws. There’s no ignoring the wayward path Eminem has taken over the past two decades, and the tracklisting reflects this.

The beautiful blends of genres and crisp production make ‘As Above, So Below’ an enthralling listen, and has Sampa raising the bar for herself once again.

It gels together so well that it is hard to find fault. Other than the album needs some trimming. A lot of trimming. Which is a shame as there is a fantastic album in there but navigating it can be overwhelming at times.

Pale Blue Eyes have clearly worked their socks off, and to produce something that carries integrity in putting to music the nature of reminiscence, all the while working tirelessly to fund it, is commendable. ‘Souvenirs’ is a visceral release of material that bookends the band’s formative chapter, and ushers in the next.

At times challenging, at others familiar and accessible, it demonstrates that 30 years after their debut album, Stereolab continue to surprise and reward, their unabating influence threading through every recess of left-of-centre modern music. Perhaps Stereolabesque is a fair term after all.

Punchy, peppy, and undeniably positive, ‘Keep On Smiling’ is an exuberant and life-affirming ambitious album that demonstrates that if in doubt, you have to choose happiness.

‘Yungblud’ has some of Harrison’s best tracks to date, but, as a whole, it’s not refined enough to be his magnum opus.

A record of fireworks, but few surprises. The songs kept succinct, punchy, and direct; there’s no house production about-turns, no moments of revelation, just sheer, unadulterated Khaled. It’s like being strapped in to a rollercoaster – at points its exhilarating, at others terrifying, and by the end you’re eager for it to be over.

Overall, the album does a fantastic job of showing us where Lou Reed was in 1965.

While at times lyrics can feel uninspired, and there is far less space-rock at play than previous ventures, there’s no denying that the tracks on offer are sharp and hard-hitting. A very solid release, and proof of why Muse are still held to such high acclaim nine albums on.

Every track demonstrates a beauty in the everyday; in the mundane; in our reality. And combining such observations with the sweeping sounds of orchestral talent and acoustic guitar, the end result, of the combination of these juxtaposing complex and simple elements, is one that feels familiar.

Cheeky, subversive ‘I Saw The Truth Undressing’ seems to sum up this wonderful, enlightening record.

Whilst there are some bright gems for Jacklin fans interested in her ability to be vulnerable and confessional, there seems to be a whole lot of build-up – and not a lot of climax.

An album that is often slight, and occasionally cartoonish. There’s a lingering feeling that not only can UK rap do a lot better, but so can Aitch.

While it does knock out some definite singalongs, sprinkling in some fun hooks and catchy structures, there is something missing beneath the veneer of theatricality. This is an album that hints at complexity, but it is inevitably overshadowed by Urie’s one-man-show.

HOLY FVCK serves as brilliant proof of Lovato’s hard rock capabilities. Lovato suits hard rock, those vocals absolutely gorgeous when paired with a sturdy burst of heavy soundscapes. While Lovato can knock out a summer-ready banger, it’s equally as thrilling to see them lurking in the shadows.

A bold, contained statement nonetheless, doubling down on her niche style with a few twists and turns brings us some truly great moments to cherish.

Phoebe Green explores and elevates her creative visions with ‘Lucky Me’, with helping hands by some of pop’s most innovative producers; Kaines and Tom A.D as well as lead producer for the album, Dave McCracken.

Alexis Taylor’s vocals are always worth experiencing, blessed as he is with one of his generation’s most striking pop instruments, yet ‘Freakout / Release’ doesn’t tug at the heartstrings in the same fashion as ‘Flutes’, say.

Brighter and airier than a lot of corona art, it might also be also more enduring. It’s a collaboration that invites listeners along for a ride between a now- distant musical past and the present.

‘Cry Sugar’ may take the cake for dance record of the year; that lighting-in-a-bottle moment we’ve all been waiting for.

The record is funky, it might sound good near some waves (the title is also a play on the .wav format for digital music files, which Harris is constantly sending to studios across the world), and the beats generally bounce happily along. It does what it says on the tin.

Unapologetically angsty and beautifully chaotic, Pale Waves have created a safe space for fans with ‘Unwanted’. A place of pride.

‘The Alchemist’s Euphoria’ is arguably one of the most daring, cohesive bodies of work that Kasabian have rendered to date; it demonstrates that when it comes to evolving, all it takes is courage, innovation and a dose of pure alchemy.

An album that never fails to take you off guard with each new song. The end result of that frenetic time in California shows how a change of pace can create magic; this is Sylvan Esso’s best album yet.

‘Cheat Codes’ is Black Thought’s most complete project to date.

By the time the record comes to a close, one thing is clear: ‘Traumazine’ is a deeper excavation of who Megan Jovon Ruth Pete is. While the glossy persona of “That Bitch” Megan Thee Stallion is able to roam free, introspective uncertainties linger beneath the surface. ‘Traumazine’ abounds in empowering affirmations but, beneath it all, this is a release that starts to unpack Megan the human.

At times frustrating, ‘The Last Slimeto’ is never less than entertaining. A bracing, defiant gesture, it finds NBA YoungBoy embracing freedom with both hands.

Lyrically the album does what pop music does and creates a vibe but doesn’t necessarily encite any thought or, challenge the listener and the rest of the album from this point feels quite disconnected as we navigate out of the Afro-R&B with a feature from Rema on ‘Compromise’ to Nigerian highlife with lead single ‘Afro Highlife’ and reggae rhythms on ‘Having Fun’.

The interplay between Young and Promise of the Real is great and dare I say, they somehow manage to out ‘Crazy Horse’ the actual Crazy Horse. This is a greatest hits selection worthy of Elliot Roberts’ 50-year friendship with Neil Young.

There are a few points in the album where Lauv begins to take an interesting turn, only to retreat to familiarity.

While ‘PANORAMA’ at times feels repetitive, there’s certainly moments that smoulder with passion, sparkling with Kiyoko’s signature charm.

A final project that is both delicate and explosive. Whether curating the voices of those around him, serving as the production-backbone of a track, or cultivating and polishing his own voice, Lil Silva delivers.

If ‘RENAISSANCE’ doesn’t convince you that a star with nothing to prove continues to produce sprawling bodies of work that are editorially precise, prismatic and rhythmically audacious, nothing will.

Patina is a solid sophomore effort, and perhaps hints at the promise of a greater sonic exploration to come with their future releases.

Packed with personality and innovative sounds, this is an incredibly strong release.

It’s just unfortunate that ‘ISTHISFORREAL?’ is less of a philosophical treatise and more a frustrated misrepresentation of Purdy’s abilities.

This is a cinematic body of work that triumphs in its ability to meld a plethora of electronic styles together with the glue-like emotional intent of sentimental reminiscence, and poignantly reminds the listener to hold dear their loved ones.

From the lyrical outpouring of questions and realisations, to the emotions encapsulated by these instrumental vignettes and thoughtful production, you get the sense that Maggie is at home here in this state of experimentation and consideration.

‘2000’ is a distinctly Joey Bada$$ project, although it doesn’t necessarily tread entirely new conceptual grounds, the spaces it does occupy are well thought out and exceptional for a reason. This album is another brilliant example of why Joey Bada$$ is such a powerhouse in hip-hop.

Delivering what her fans would expect, it seems as though Flo Milli has found her feet and handed over a selection of fun-filled and ultrafeminine tracks before the summer comes to an end.