Justice may have struggled to reach the dizzying heights of their 2007 debut Cross, but Hyperdrama is a convincing, exciting venture in its own right.

These nine tracks prioritise serenity and beauty in their evocation of some unknowable beyond. Their sparkle can become almost too perfect, which makes the dark abruptness of the last two pieces feel like release, even if they throw its general hopefulness into uncertainty.

Every track on sentiment feels like a late-night phone call from a close friend; when the album stops, you find yourself missing the voice on the other end.

If I don't make it, I love u is magnificent, the peak of their recorded output to date, the sound of a band solidifying and pushing forward into something genuinely their own. A truly brilliant piece of work.

Unfortunately, it seems like the record's runtime was set before material was allotted to the space, unleashing a high-octane sugar rush in a space fit to dilute it into the unbearableness of being palatable. There are worse things.

This debut comes from immense, fruitful collaboration. A collaboration between beings, instruments, melodies and spaces that offer room to listen, reflect and become.

It's a sage document precisely because it embraces that which can’t be figured out: what life has next in store.

This debut LP sees English Teacher beginning to consolidate and take the already-delicious sounds introduced on their Polyawkward EP to even greater heights.

Sunshine in music form, A LA SALA is another stellar addition to Khruangbin’s blissful repertoire.

Hope is the longest VW song ever at eight minutes, but it never meanders despite its repetition. Instead it points toward the restless creativity that the band have never lacked, and that Only God Was Above Us demonstrates all too clearly.

A timely and exciting collection of songs.

Throughout, Jlin's command over rhythm and texture make what could be too impenetrable a blast to hear.

It’s an album that worms its way into you, slowly revealing more and more of itself with each listen, layers of intricacies shifting beneath its drifting beauty.

Real Power is a lot of fun, though at points it seems to sacrifice bite in favour of a certain kind of generic polish.

Rodriquez’s most cohesive and ambitious work to date.

She can’t do any wrong at the minute; this is timeless songwriting, and Tigers Blood is a worthy successor to Saint Cloud.

Bright Future provides exactly that: a run of songs that captivates in plentiful colour.

Perhaps this new album doesn’t match the immediate wow factor of Whack World – few albums ever could – but regardless, we should be thankful Tierra Whack is out there doing her thing; making mainstream hip-hop interesting.

The Great Bailout, while resting handily within her trademark virulent atmospheres and spoken word, is among her most impenetrable and least entertaining from a practical sense. This is not a fault of the record, but a necessary and expected byproduct of its existence, as each track runs up to ten minutes in a dirge of menacing poetry with instrumentals more evocative of a sinister mood-piece than a traditional song

Gordon manages to hit that sweet spot, creating an album that is adventurous, charmingly deadpan and visceral at every turn.

While Glasgow Eyes is no Psychocandy, it is without doubt a true-to-form The Jesus and Mary Chain album and, for that reason alone, worth the listen.

Down By the Stream discusses bullying and abuse, while Blackpool Illuminations is a seven-minute track about Smith’s childhood at the iconic event. It’s structures like Where’s My Utopia? that make an album stand out, as does its sense of hope and perseverance, with the overall message that one’s struggles and emotions are valid.

The band’s excellent 2019 record Patience was full of self-flagellation, guttural outpouring and railing against abuse and injustice, but it ended on the hopeful budding of new love, a journey of breakdown and renewal. They continue on this record to wrap up extreme emotion in sonic confection.

The back half loses steam a little, but even mediocre RE is well-written and easy to enjoy. Victoria is an Alex Bleeker-led song with a bit of pedal steel twang, Airdrop throws in some synth and Freeze Brain has bongos for some reason. But these little affectations rarely distract from the uniformly gorgeous arrangements.

There's an ever-growing sense that Segarra is in a class above in terms of poignant lyricism and emotive performance – The Past Is Still Alive reaffirms this in spades.

It’s varied, it’s vibrant, it’s wacky, it’s experiential. Loss of Life, contrary to its title, is brimming with the stuff and serves as unmistakable evidence of MGMT’s continued renaissance.

It’s a record that sees Doyle take chances, not all of which pay off by any means, but it is one that never truly coalesces into a great album in the way his last two records have. That said, he remains a figure who is always interesting and developing.

In the main, Blu Wav is Grandaddy’s most grounded album yet, a triumph of reinvention.