From ‘Stuck in the mud’ to ‘What you Reckon’, Digga D is quick and snappy, delivering lyrics that push you to listen again and again. With the confidence that knows he is a star ( he raps ‘I’m as hard as Stromzy and Dave, what a statement to make but I say what I say and I mean it’), Digga D proves he is greater than just another rapper. He is an icon.

If they’ve perfected the modern pop template associated with acts like SOPHIE (on production duties here) - and they have - it’s somehow not the most impressive element of the record. The second half of the album includes a pair of breathtaking epics, ‘Cool & Collected’ and ‘Donnie Darko’, that showcase a songwriting maturity well beyond their 18 and 19 years.

Charli is no doubt an album of too many features and too many parts, but it somehow all fits together in a way that allows her penchant for unconventional songwriting and her ear for an exciting melody to work in concert, creating a project better than most anything she’s done in the past.

The party standards are present and correct. ‘Mamma Mia’ is as dizzying good and gay as you’ll get, the aural equivalent of downing three bottles of pink fizz in an Uber with Magic FM, getting pissed with your pals, on the way to the best night of your life. ‘Waterloo’ crashes in on glam-rock drums, a pantomime dame in silver thigh-highs, as she battles and bosses that irresistible chorus. ‘SOS’? Not even going to talk about it. It’s a double-dunt of serotonin; a sure-fire cure for sadness.

‘Homegrown’ not only lives up to the hype of being a lost classic, it surpasses it.

‘TM’ feels like a classic BROCKHAMPTON record. Immaculate production, genre shapeshifting, and some of the cleanest verses from the group in quite some time. There’s no filler on the record either – just eleven tracks of pure BH instant classics.

It's a truly incredible album, a special album and a rare album.

One of the most engrossing UK electronic albums to land in 2022.

It’s an album that’s somehow halfway between DJ mix and a greatest hits compilation, and arguably the best of The Avalanches’ trio of releases thus far.

This is music that’s meticulous and expansive without ever falling into the trap of being boring or self-indulgent.

Claud’s ability to create earnest, anecdotal songs ensures ‘Supermodels’ is not just a queer-pop triumph but a universal one.

Most of ‘Halo’ was sculpted on the road, a moment of pause and introspection that affords Bakar space to surge forwards creatively.

It's a gem for Harcourt fans and the sweetest of introductions for new listeners.

Hollowed will give you hope, then gut you. Nothing but a victory all round.

He’s deftly left himself room to manoeuvre, but at this rate, there’s a hyperpop throne with his name on it.

Ezra Collective have once again released an album that is hard to fault.

What might be the most understated and confident album of the summer.

Few albums this year will match up to the level of proficiency and commitment here and yet it remains a distinct probability that the world still won't listen. An album that will shadow most others.

Sounding fifty years out of time and traversing genres without concern, it is unlike anything else you will hear this summer. And you really must hear it.

‘RTJ4’ is a must listen. It is diverse enough to appeal to even the hardest crowds. Many genres are represented here, but lyrical hip-hop is at the forefront of all that Run The Jewels is. They stand out from the crowd, whilst invoking the people to stand up for themselves. There is not a bad song on the entire album and the production and features are second to none.

If you love the ambiguous crossover between half-step London sounds and crushed and warped 4/4 peddled by the likes of Martyn, Burial or Joy Orbison, then the love in you will find this album.

As ‘Red (Taylor’s Version)’ shows, this is an exercise in catharsis. Leafing back through the storybook of our own formative years, we feel it all.

Caroline Polachek has set a serious precedent for any pop releases that follow it this year. She is an artist completely in her own lane, refusing to conform, every moment on this record a vicissitude. Her commitment to her craft is undeniable, her talent indisputable.

The hype for his newest album, 'The Off-Season', reached astronomical heights. Fortunately for fans, they did not have to wait long, and the North Carolina rapper did not disappoint.

She’s broken the curse, she’s woven a spell--and the self-described ‘luckiest little Scottish witch in the world’ is safe to cackle back off into the night, having created possibly the best album we’ll hear all year.

It makes for a stark--often chilling, often exhilarating--collection of music that spans the genre(s), from the well-known to the esoteric, the accessible to the impenetrable.

II is an absolute masterpiece of dancefloor work.

A product of its time, it will unsettle and confuse you, and there are even moments that feel poignant. That is why they will be remembered as an important band, and this album a significant milestone in modern guitar music.