Closing track Happy Now even dares to pick up the pace and is a reminder how good Uchis can sound when she mixes things up a bit. A few more moments like this to break the homogeneity of Uchis’ songs next time around would be most welcome.

Brothers & Sisters sees him build on these long established musical interests but, importantly, also add new elements to the mix to deliver a compelling listen. It comes out of the blocks impressively quickly, with each track building on the former to create a formidable initial run. ... In terms of musical statements it’s hard not to see it as his most vivid and vibrant to date.

It’s a brutal, intense listen, and certainly won’t be for everyone, but those who care to take the journey will find many rewards.

It’s not the sort of album you can ever relax while listening to, as you’re not entirely sure what’s coming next at any given point. It’s an album full of invention and creativity that never rests on its laurels – maybe not one for everybody, but those who delve into Shook will find so much to explore.

By the end of this eclectic, intense experience Skrillex has proven himself to be an inventive and well-rounded producer, but his abilities in the pop world seem more dependent on the songwriting of others.

It may not make the strongest impact initially, but repeated listens reveal more in the way of deep thought and renewed optimism for tomorrow.

She’s certainly an artist following her own vision: one which may sometimes grate, but is never less than intriguing.

It’s a fun, if inessential, listen and more proof, if it were needed of course, that Lambert is an excellent interpreter of other people’s songs.

It shows him to be a musically omnivorous artist, should any proof beyond Field Music’s albums be required.

As far as third albums go, this is definitely more of an Ultra Mono than a Skinty Fia – a consolidation of their position rather than a leap at greatness.

At 55 minutes, it’s arguably too long, and some of the less memorable tracks could probably be filed away without taking too much away from the album. Yet only dEUS could end an album with Le Blues Polaire, a six minute song sung entirely in French that switches from dirty, grimy guitar rock to hypnotic drone several times.

Perhaps some of this record suffers from thin songwriting but the drops, so clearly the main attraction here, are characterful, razor-sharp and banging.

While some of the guestless songs feel weaker – or at least thinner – than the collaborative works, they still fit the sonic theme and don’t rock the boat too much. Overall, this is another lovely entry into the Gorillaz discography.

Although this is undoubtedly a niche record, the sound of Smith and Unthank singing together is always a spine-tingling delight.

There’s a truly startling album lurking somewhere within Moore, but she’ll need to start taking a few more risks for that to be unleashed.

Optical Delusion is messy, and it certainly doesn’t display the focus of the Hartnoll brothers’ career highlights, but you’re never more than five minutes away from a musically inspired moment.

Abrasive yet euphoric, Pigsx7 continue to supply the world with wired and vivid records.

This Stupid World sees them further consolidate their position as alternative treasures.

Above all, though, there’s McAlmont’s voice, which has lost none of its sexiness and agility in the years since he arrived on the scene in his partnership with Bernard Butler. ... While all of the musical elements may have a strong element of reminiscence about them, the lyrics are bang up-to-date, and not always as cheerful as the sound-world suggests.

When RAYE is self-consciously rebelling against the mainstream it results in some of My 21st Century Blues’ worst music, whereas on the best tracks we hear an artist who fully deserves this victory lap and more.

There may not be too many surprises on Get Up Sequences Part 2 (and it works perfectly well as a double album with its predecessor), but there doesn’t really need to be with The Go! Team. It’s the usual shot of audio adrenaline, and they still sound as life-affirming as they did nearly 20 years ago.

This isn’t the Coxon of Coffee & TV or Freaking Out, nor indeed the Dougall you may remember from the perfect girl-band pop of Pull Shapes. Instead, it’s a mediative, often beautiful record that often has the capacity to surprise and delight. Just be sure you like saxophones.

Heavy Heavy is a short, sharp blast of energy that never outstays its welcome. ... The year may be only one month old, but the first truly great album of 2023 has arrived.

When it catches fire, as on Unholy, it sounds terrific but those moments are too few.

The friends have created something memorable here – not just to bring attention to serious causes, but to captivate and delight all those who stop to listen.

Furling is a collection that rewards repeat listens to allow it to fully embed into the consciousness but once it does its soft, rarefied treasure has much to offer.

It is arguably one or two songs too long, but otherwise AudioLust & HigherLove is a strong pop music record – disposable, yes, but with a songwriting sensibility and deep house production that means it works on several levels.

The band have fully reasserted themselves, taking equal parts past and future to make a record that fits the present day like a glove. Twenty years in and the fires are still burning brightly.