Cinematic splashes with honest lyricism feature in the twelve-track production and there is one thing this writer can tell about ‘A Fistful Of Peaches. It’s all about escaping the war in the mind, something that helps make Black Honey a band to admire.

As a double album, ‘V’ is a hefty commitment and is therefore unlikely to win many new fans for Unknown Mortal Orchestra, but it’s a coherent and mature piece of work which will be worth the wait for this well-established act.

It’s a touching journey reflecting on how the four boys changed into men and changed the world through the power of music at the same time.

‘10,000 gecs’ is a sub-thirty-minute blast of the duo at their best, creating some truly bonkers music and refusing to ever conform.

After listening to ‘The Future Is Your Past’, and last year’s ‘Fire Doesn’t Grow on Trees’ they feel like the start of a golden age of The Brian Jonestown Massacre.

While it may not be the East Atlanta rapper’s best, it still stands as a solid successor to ‘EA Monster’.

This release feels like she is fully embodying her own skin – this is a release that aims for timelessness in its own right, allowing the true, unfiltered Miley Cyrus to step into the sunlight.

Lyrically, the album represents one of Shana Cleveland’s most daring and open song cycles.

Instinctual, acerbic and erudite, ‘UK GRIM’ is stark and enthralling all in one.

This is a thoughtful and sensitively crafted project showcasing an awe-inspiring collection of carefully-crafted tracks. It is a touching tribute to this special musical partnership and demonstrates their musicality, artistry, and emotive storytelling.

On ‘Ignore Grief’ they’ve done it again as the album is the most powerful and uncompromising album they’ve ever released. It’s also one of their most playable. This is down to the dense music. Every time you listen you hear something new that gives the song a different context. This is the mark of a, and I use this word properly, class.

‘Red Moon In Venus’ solidifies Kali Uchis’ appeal as both a fringe artist leaning fully into her idiosyncrasies, and a crossover one executing universal easy-listening with élan.

A bold attempt to embrace his contradictions, this is a project held together by the brutal strength of slowthai’s performances.

On ‘Brothers And Sisters’ he sounds like he feels comfortable being in his skin and writing uplifting music that doesn’t have a massive political message, though one is there. It doesn’t have a massively personal message, though it is there. Instead, he’s written an album for everyone.

A powerfully affecting song cycle, ‘On Grace & Dignity’ peels back preconceptions, stabbing straight for the raw nerve.

At once a joyous, celebratory ode to motherhood, elsewhere finding quiet liberation and acceptance during life’s darkest moments, it’s clear, Meg Remy has delivered her most hopeful album yet.

Adam Lambert doesn’t do subtle, he is theatrical through and through – and we are here for it. The gravitas towards all things dramatic is ever present throughout his latest offering ‘High Drama’ – an album of bold reimagined tracks personally curated by the singer himself.

Across its 12 tracks, ‘Good Riddance’, is a deeply confessional offering, with decadent melodies and production that platform her distinctive vocal.

The songwriting is strong, representing Selway’s best – and must sustained – burst of solo work yet. His innate musicality shines through, and there’s an endearing honesty to the lyrics that filters across the music itself.

‘How To Replace It’ finds dEUS facing up to their past and refusing to be hemmed in by it. At times daring, at others direct, this feels like the work of a band with nothing to prove.

Individually the songs are great, vibrant and bouncy. However, together it can get a bit too draining. Now, I’m not saying that this much pop is a bad thing – the album is a delight to listen to, but there is a lack of variation in both sound and texture as it’s all so IN-YR-FACE.

‘Possession Island’ aside, this is an energetic, upbeat, genre-expansive collection that ranks alongside Gorillaz’ best work.

The result is an album soaked in nostalgia and melancholy but retains the razor-sharp edge that make shame so brilliant.

‘The Land, The Water, The Sky’ is an album to savour, to go back to again and again to either get a greater understanding of what she is imparting and to find a new melody you missed the last time.

A helter skelter 11 track run-through, ‘Cuts & Bruises’ retains everything that made INHALER’s debt so effective while adding some excellent new elements.

The album seamlessly transitions through genres of music that will be influencing the next decade of sound. To achieve such fluidity is unbelievable, and Skrillex continues to be the Godfather of EDM.

Avey Tare’s new album ‘7s’ sits in the shadow of ‘Time Skiffs’, but it contains a curious character of its own. Featuring – naturally enough – seven tracks, it both nods to some of the conduits of Animal Collective’s work, while also injecting something different.

With ‘Land of Sleeper’ Pigx7 have managed to sharpen their uncompromising combo of Sabbath-esque riffs and experimental leanings into their most easily digestible – and perhaps best – album yet.

Orbital’s revised sound sees them cement themselves at the forefront of electronic music.

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.

‘GRRR Live!’ has further cemented The Rolling Stones’ reputation as one of the best live acts of all times as well as being one of the most memorable shows in the band’s history.

‘Truth Decay’ is a mixtape You Me At Six have lovingly burned and placed into our open palms. It’s got tracks you’ll love, some you won’t, but there’s an undeniable charm throughout.

‘This Stupid World’ is another wonderful instalment in their extensive catalogue.

Don’t listen to ‘Raven’ expecting immediacy. Instead see ‘Raven’ as a point of discovery, fostering dialogue on and beyond the dancefloor; an open expanse and a surround sound experience for the marginalised seeking thrills beyond the white gaze.

Something about the songwriting on ‘This Is Why’ are undeniably the most something, Williams both elegant and sandpaper-coarse, depending on what is called for.

An inspired listen, it stands as a wonderful achievement not only in jazz, but in African-American improvisatory arts more generally.

‘Portrait Of A Dog’ offers up a compelling glimpse into Yano’s chimerical interior world, deftly and sincerely, unfurling memory after memory without devolving into, and getting lost in, syrupy sentimentality.

‘Heavy Heavy’ sees them fully marry their two sides; is this a very fun album from a very serious band, or a very serious album from a very fun band? Why not both? Young Fathers can have it both ways.

At 57 years old, a more than successful career in the music industry and an army of fans behind her, Mrs. Twain would well be within her right to hang up her boots, but she has certainly left us wanting more with ‘Queen Of Me’.

‘The WAEVE’ being a unique experience, bathed in a bold richness and brilliantly indulgent productions.

There are moments of meandering musicality, and uncertain songcraft. That said, there’s plenty in here to soak up – from its title out, ‘Let’s Start Here’ seems to point to a fresh beginning for Lil Yachty.

SG’s talent as a producer, multi-instrumentalist and vocalist is undeniable, and it’s on these less predictable tunes where he demonstrates the extent of the originality and flair at his fingertips that he shows us his true potential.

Unfailingly imaginative, her return offers another vital chapter in her unfailingly riveting career.

Whilst ‘Lobes’ doesn’t reinvent the lobe shaped wheel, this is an effervescent funk-laden album which will certainly brighten up those dark January evenings thanks to its soaring choruses and memorable melodies.

‘Honey’ pivots between lyrical complexity and spartan, but endlessly pretty arrangements.

It’s anthemic, eclectic and is a powerhouse of a record that feels like they are having more fun and giving a more ‘zero fucks’ attitude than ever before and we are here for it!

It contains some of his finest work, and this lengthy package is a profound expansion on the sessions, live shows, and experimentation that took him there. A terrific piece of Dylan lore, for casual fans and Dylanologists alike.

The long-time drummer may be walking hesitantly into the spotlight, but the record carries a softly-spoken sense of confidence. An enriching song cycle, we sincerely hope this is only the start.

Worth the wait for fans. The record balances its psychedelia with more mediative moments offering plenty of variety. This record again shows Auerbach’s musical influences and projects beyond The Black Keys.

‘Living Human Treasure’ is a wonderfully exciting and enjoyable album. Italia 90 have and axe to grind and grind it they do.

‘Bubblegum’ is the most creative, well-thought-out and simply fun project to come out of the UK alt-pop scene in quite some time. Biig Piig continues to improve, every release getting her closer and closer to the stratosphere – and even that won’t stop her rise.

This isn’t mere voguish reinvention but a masterful insertion into the most indecipherable of back catalogues, and its reliably mutable, endlessly wandering creator.

‘Prize’ fully submerges the artist into a unique, eccentric, psychedelic style – allowing her to fully embrace various influences and detach her art from confinements that previous albums may have established.

Exhaustive and exhausting, ‘Rush!’ feels like the definitive word in this unlikely rock phenomenon – at its best, it’s a feral reminder of how entertaining the genre can be.

‘Late Developers’ is a fine piece of pop whimsy, delivered with self-deprecating panache.

‘12’ is not an album to take lightly. It is an album to listen to intently as often as you can. With each listen you learn something about what it takes to be a great artist, Ryuichi Sakamoto is a great artist, but it also teaches us not to take things too seriously because one day it could all be over.

Moss’ vocals and harmonisations with herself are a masterclass, supported by creative and tasteful production. Modular synthesis and glitchy-yet-organic drums are the engine of the record, the outcome being Moss’ best studio effort to date.

An artist who continually confronts his own emotions, ‘Permanent Damage’ finds Joesef heightening his intentions, and magnifying his aspirations. He’s manifesting pop greatness, and few would bet against him.

It’s a fearless, intricately crafted and sonically expansive body of work that effortlessly showcases why he’s one of the UK’s most talented songwriters.

Though it may not be their most daring record to date, it’s certainly one where they’ve taken most risks, and their blend of indie-rock and electro-pop certainly pays off.

A work of real refinement, ‘The Great White Sea Eagle’ is peppered with jewels.

It’s a statement of intent from Billy Nomates, unbalancing sonic scales and weaving this into a force to be reckoned with.

A remarkable talent, this is an album to cherish.

A vital, thrilling affair, it ranks amongst the best of his solo work.

This is an album about growth, however messy and non-linear it may be.

‘HEROES & VILLAINS’ bursts with ideas, not all of which land. A record that revels in contradictions, it grasps towards the light while framing itself in darkness.

With his new album RM demonstrates a sense of growth. Weaving throughout each track, RM feels vividly present. Through the inclusion of art combined with the presence of an interpretation of nature, ‘Indigo’ feels calming, relatable and fresh.

Although a rather formidable theme, NNAMDÏ delivers his most succinct and capital P pop album yet.

‘This Is What I Mean’ is a low-key affair, downbeat and introspective. The tracks are intimate in theme as well as production, and it might just be Stormzy’s cohesive and coherent project to date.

‘World Record’ is a thrilling ride through some admittedly familiar pastures. But then, perhaps that simply underlines how potent Neil Young remains, and the increasing resonance of his eco-politics.

An easy record to enjoy, but a difficult one to fully evaluate, it presents an artist pursuing vital sense of personal and aesthetic freedom.

‘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.

‘The Family’ is the perfect BROCKHAMPTON album. It has a flawless balance on energy fuelled moments with more melancholic ones, and the departure in sound from previous efforts makes for a compelling full listen.

This is an album that grows in grandeur with each listen, layers unravelling with every replay.

A fantastically consistent, perpetually illuminating full-length, it shows Nas to retain a hunger, and sheer fire that so many of his peers have lost. Recalling former glories while remaining fixed on the future, ‘The King’s Disease III’ underlines the rapper’s current creative streak.

A brave and open experience, it stands as one of Gold Panda’s most riveting statements, amplifying his technical virtuosity while also honing in on the glorious melodic jewels that allow his work to linger so strongly in the imagination.

From start to finish, Dawn Richard and Spencer Zahn have created a truly refreshing body of work, a seamless experience. ‘Pigments’ encourages one to reach outside of their comfort zone, to listen more closely, more openly.

A fun record, but also one with real depth, ‘Alpha Zulu’ becomes an apt testament to the group’s continuing vitality.

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

Without a doubt, ‘Only The Strong Survive’ exemplifies Springsteen’s unfaltering commitment to top-notch musicianship and production.

‘Loud Without Noise’ is brave in its honest lyricism and empowering in its sound while still paying homage to the angst-fuelled, punk spirit that first grew them a following. It is a nostalgic mixtape that will make you shed your inhibitions, let go of those social anxieties and, at least for the 20 minute duration, feel a complete freedom that you may not have ever felt.

From understated bedroom pop to innovative troubadour, Skinner’s new record is truly a gift.

Lashed with swathes of distant bittersweet nostalgia, the record dabbles with elements of funk, electronic, indie and pop to form beautiful airy vocals and infectious guitar melodies, punctuated by rolling drums, through to delicate folk tracks which demonstrate the breath of Constance’s lyrical prowess.

‘Cometa’ is Hakim’s strongest, and most personal, album to date.

Big Joanie makes their own home on the record, and in the process, their own mark on contemporary rock. In a nutshell: Big Joanie is a band that deserves your attention.

Fletcher’s most revealing and revelatory body of work to date. The candid storytelling of loss and trauma, the pain of personal growth, and the power of true self-acceptance opens up to serving soft pop-punk brilliancy in an exhilarating yet hypnotising project.

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

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.

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.