Radwan Ghazi Mounmeh and his cohorts have managed to make a record which communicates across the bounds of culture and time.

Collaborations with vocalists Serpentwithfeet, Elise Serenelle and India Carney bring elevated moments to an album of ambient piano which will have you drifting in thought.

Breathless and perplexed with ears ringing, the live trip of ‘Rare, Forever’ will be a must witness.

Djo triumphs in an accomplished attempt at a third album which spares no songs in getting to the crux of the matter.

An exhilarating and ambitious collection, it should bring Field Music a deservedly larger audience at last.

An enormous leap forward, Freedom finds Amen Dunes grappling with his abilities, with the passing of the time; a superb record, it’s one that deserves the widest possible audience.

‘Punisher’ is an immense album tackling the ugly and absurd sides to life with beauty, humour and self-awareness. It’s a unique reporting style and a key statement.

On Ignorance Is Bliss, Skepta is back with a renewed hunger and sense of purpose, overcoming a new set of challenges and proving once again why he is a grime mainstay.

Emotive and delicately intertwined with lush vocals and slices of upbeat moments (‘The Answer’), not for lack of trying, is a sensational project from dodie.

Older, wiser and more seasoned, ‘Selling A Vibe’ finds the brothers refreshingly thoughtful and assured. All achieved while sounding as rough, ready and brilliant as ever.

The project finds Lil Durk facing up to his faults, and owning them, while never abandoning the landscapes that framed him. At times hugely inspired, the intensity of the experience will leave you breathless.

It’s a wonderful record, one to wrestle with, one that lingers at odd moments of the day and night. Allow it to seek you out.

While subtle, this album captures the evolution of a band in their element once more.

Many have already been drawn into the melancholy whirlpools of their past two albums; yet more will surely be drawn by the warmer embrace of Legrand and Scally’s latest statement, a stronger, rhythmic definition offering a hand through the ether, beckoning the listener into their fluid tapestry.

‘Wishbone’ stands as a confident pop statement, pairing Gray’s impressive vocal prowess with sleek, polished production.

Lorn builds winning improvements on an already victorious formula of boom-bap nightmares gone crypt walking.

This record isn't really comparable to any of Monkeytown's output, but it still stands up alongside it--and not just as a novelty.

A special album from a special artist, Nepenthe is, indeed, an album that leaves thoughts of others absent as it plays out its otherworldly dance.

Though ‘Everything Harmony’ may be a pastiche, the band carried it past the point of mere replica and into its own identity. It’s resonant in modern times; a dreamlike escape from the electronic clamour and constant buzz that can drain one’s spirit.

‘Screen Violence’ is so striking it makes 2018’s ‘Love Is Dead’ seem almost blasé in its deliverance.

Western Stars is an understated triumph, righting the wrongs of his last few releases and more than emphasises the fact that Springsteen is still brilliant enough to be invested in.

Wistful and wise, ‘Twin Heavy’ offers a portrait of the young man as a record collector. With his magpie-like eye for treasure and eagerness to share, Willie J Healey has conjured something special.

An enthralling listen from a compelling artist prepared to push the unorthodox.

The Chemical Brothers continue to buck any notions of a creative burn-out with their strongest release in a decade.

‘Snake Sideways’ is a culmination of all of Do Nothing’s talents, and a great debut album which is perfect for the live setting – where the band thrives.

Although Lousy With Sylvianbriar lacks the violent eclecticism of their 2007 classic ‘Hissing Fauna, Are You The Destroyer?’, it’s a genre-morphing triumph that reveals new surprises with each listen.

Strike A Match feels like it is racing against itself, a gentle, playful intensity that feels wholly inviting.

‘Man Alive!’ is an absorbing consolidation of Marshall’s inimitable sound.

A record that feels both eclectic and uniquely defined, ‘WHAM’ packs huge amount of detail into its 15-track, 41-minute run. The neo-hallucinogenic production flourishes of ‘Free Promo’ show his studio control, but the roll call of features – GloRilla, Rod Wave, an electric Travis Scott – illustrate the respect Lil Baby is afforded by his peers.

Righton paints the perfect picture of his inner thoughts as he embarks on a cinematic journey with poignant lyricism, exquisite production and charismatically seductive soundscapes reminiscent of Roxy Music.

Drift see’s songwriters Mark Perro and Nick Chiericozzi reflect on a decade of relentless experimentation to produce an album that truly showcases both their versatility as musicians and the many dimensions of The Men’s musical canon.

In 13 tracks ‘The Waves pt. 1’ is an elegant accumulating of Kele Okereke’s work. It encapsulates so much depth and takes you on joyous rides that you can never anticipate the direction of.

Arca rides a steady stream of minimalist melancholia, juxtaposed against Ghersi’s intense, operatic vocals--the effect is one of ceremonial transcendence.

Forest Swords was already becoming quickly respected for his deftness of touch when dealing with both musical and emotional tone. Compassion demonstrates he is very capable of weaving them together until they are intrinsically entwined.

It’s a debut that captures so much of the excitement surrounding her, whetting appetites for the next steps from a potent talent.

‘Paradise State of Mind’ is a coming-of-age record, a band lyrically at the peak of the powers who will take you somewhere to ponder and dance in another dimension.

New fans will not be won, but the initiated will be delighted.

Konradsen's warm intimacy both strangely familiar but uniquely their own is one which will stay with you in the months and years to come. Welcome to their world.

Bombay Bicycle Club’s time away has propelled the band to a new plane of compelling sophistication, where musically and thematically they have evolved to create a beautifully profound and stunning soundscape full of promise and self-examination.

Framed by ‘THE LIGHT’, the record is cohesive, punchy, and succinct.

Intended settings aside, Song For Alpha demands repeated listening, finding its place oscillating between the ecstasy and dejection of experience.

Kevin Abstract’s newest studio album continues to assert him as one of the greatest talents of this generation, an individual who eliminates conformity and remains earnest and candid, regardless of the sonic environment he visits.

Arresting, yet often unexpected, ‘Fairweather Friend’ pilfers from the indie pop lineage, while daring to stamp out a unique identity of its own.

Wise’s third record is a glossy-smooth addition to a stellar discography, oozing with infectious melodies, tempered production and lashes of sex appeal.

Thoughtful, innovative, and reflective, ‘Songs Of An Unknown Tongue’ is a special record, one that offers up questions and revelations in equal measure.

Slimmed down to forty minutes split between ten tracks, Apple has the feel of one cohesive whole when compared to 7G’s daunting monolith.

She creates movement with her lyricism, an intense wave of feeling that brings you in and out constantly.

The record feels slick and polished, yet natural and unnatural. Like Grimes’ previous music, it’s a scary, ambient, and muddlingly beautiful mess.

Feeling distinct from his broader catalogue, ‘Balloonerism’ equally tethers itself to other points in Mac’s work. There’s a sense of cohesion here, and a consistency of quality that highlights the intent that Mac Miller had for this project.

This is a beautifully blissed-out record, coloured by minimal rhythms and Lewis Rainsbury’s isolated vocals.

Featuring savage and often heartfelt, diary-like ruminations, CTRL pushes against the borders of convention lyrically and sonically, placing it on the upper echelons of potential ‘Best Of ’17’ lists.

For My Crimes is a glorious album that demands to repeat listens to try and work out the hidden meanings of its songs and stories. As the nights are drawing in, pull the curtains, dim the lights and give yourself to its country gothic charm.

Yazmin Lacey’s curatorial skill sits alongside her painterly-like vocals, resulting in a bold, and emphatic album project.

Closing on a magnificent note, it pulls together the threads on this incredible tapestry of work, a complex but warming achievement, one that feels just right to pull around your shoulders on these cold winter days.

‘Learning How To Live And Let Go’ is a beautiful culmination in the XCERTS’ career.

The Union is a mutual display of affection from both sides - Elton and Bernie's nostalgic tales are infused with gospel, rollicking country and rock 'n' roll, while Leon's croaky voice adds southern authenticity.

Designer is a striking return, pursuing solitary aesthetic goals in a fashion both unrelenting and admirable. It perhaps lacks a little of the indefinable magic that made 2017’s ‘Party’ such a gripping experience, but in its ability to conjure bold, riveting songwriting it underlines Aldous Harding’s position as a truly remarkable artist.

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.

‘Fulton’ and ‘Morning River’ are early highlights, while ‘Circuit Rider’ seems to exude the characteristics of the album’s Los Angeles setting. Closing with the reflective ‘Ever Feel That Way’, Steve Gunn marvels with the lightest of touches.

For the most part, the record warrants its own expansiveness as themes of self-doubt, isolation and faith slowly supernova among dazzling ambient instrumentals, careening string sections and Sufjan’s warped vocals that bring harmony, hope and futurism to the cold, dense expanse of space.

Ripe with subtle nuance, Fading Lines is an exquisite debut. Seemingly simple yet running far deeper than cursory listens reveal, it’s a record that sticks with you long after the closing notes of the aptly titled ‘White Fuzz’ fade out.

Clocking in at less than 33 minutes to ensure your left gagging for more, Sweet Heart Rodeo is a near faultless blend of Landes’ country roots and the urban savvy of her Brooklyn base.

There is a distinctive confidence as Rachel Brown and Nate Amos weave nu-metal backbeat, indie guitar twang, piano motifs and deadpan vocals together.

While Indigo is no groundbreaker, it’s exciting for an album with so much nostalgia to sound as fresh and pristine as this.

With its mixture of wonky psych, fiery funk, and jazzy jams, this may stand as the label's most eclectic and enjoyable compilation of the year. If you love to groove, look no further than this set of scorching songs to keep you moving during the dark, cold nights.

Shorn of its visuals, ‘Shadow Kingdom’ remains a fascinating listen. .... Facing down his past, he comes close to eclipsing it, and offers magnificent proof of his continued vitality as a performing artist.

A marvellous new set, then, that only develops its makers’ already enviable reputation.

The beautiful performances captured here, touching on all five studio albums, are more than enough of a reason to seek this out.

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

It is an album that demands repeat listens, but this is fine, as with each listen we learn a little more of its secrets, but once they have been cracked Bon Voyage becomes something greater than its parts.

‘Dawn’ is the product of years of curation, brimming with emotion and beautifully articulated lyrics.

The Wild Hunt, the second release from Swedish guitar-twanging folksy master The Tallest Man On Earth, is a graceful and beautiful advancement of form, and matures just the way a second album really ought to.

The Bride is a stellar soundtrack to the complexities of womanhood within the institution of marriage, a triumph of raw intensity.

Serene yet disturbed, this is album that progresses the band well.

He also writes with a newfound lens, new experience, with his fascination of the space between cities coming through in technicolour on this record. The also never-ending sonic exploration is continually excellent, ‘Space Heavy’ being just as eclectic as it is cohesive.

‘A Written Testimony’ is a biblical album for biblical times, with enough human flaws to make it imperfect.

A time-bridging release that stands as an essential and timely reminder of just how rock ‘n’ roll ought to be played.

At times grainy and abrasive it's also mischievous, melodic and, ultimately, absolutely adorable.

Expect to be challenged, provoked, and amazed by this near-heavenly debut.

Loaded with fan-focused extras, this three-disc box set comes with all the extra demos, b-sides and alternate versions you could ever need. If anything, it’s a timely reminder of just how many tunes Oasis had at their disposal. A salute, then, to great times gone by.

With ‘23’ Cench truly puts his name at the top of the leaderboard. The ear for production, vulnerability, braggadocio, and likability make him one of the UK’s premier artists, not just in drill or rap but UK music as a whole.

Interiors is an expansive, fiercely intelligent investigative work.

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.

This band has succeeded at writing an exceptional album that’s both intimate and full of pop-hook goodness, all without using over-the-top production techniques.

The new album presents songs of confession, reflection, wit, heartache and true crime in a new yet distinctive way.

It duly delivers, comprising a first-rate electro set rich with the imagination of songwriter Katie Stelmani.

Bold, speculative and profound Impressions is a vital reminder that although we may keep moving forward and putting the negatives behind us, they should never be forgotten.

On Your Own Love Again is a timeless record by a remarkable talent only just starting to show what she can do.

Tastefully pieced together, ‘Jungle’ concludes In A Galaxy with chopped and screwed sound productions and juddering beats, a wholesome way to complete an emphatically creative album.

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.

‘Shadow Offering,’ is beautiful and heartwrenching, pulling on listeners’ heartstrings. The album offers a sanctuary by easing anxiety and fueling hope, acting as a sort of security blanket for these unnerving times.

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

A rich, rewarding experience, this isn’t an album to be understood easily – uneasy listening, it could be their most enlightening record yet.

As dense as it is bare, the aural fog and disorientation of alt-techno he has made his own across four albums has Actress throwing himself headfirst into a heap of wires and making sure every choice earns their right to the tracklist.

Ape in Pink Marble doesn’t do anything innovative because it doesn’t really have to. So go ahead, Devendra, celebrate.

Although the sound of the album is wide-ranging, it holds continuity through its lyrics and general sentiment. K-Pop after all is an inherently genre-blending style of music, so it’s no surprise.

Not only does it showcase her ability to blend introspective vulnerability with infectious pop sensibilities, but it also finds McRae discovering the sound she’s most confident in, leaving everyone wondering where she will take it next.

It’s a wild explosion of ideas, to the point where it could be argued that, when taken as a whole album, it lacks a bit of shape or finesse. Regardless, the fascinating production work by its skilled creator and a frankly ridiculous selection of guest features makes ‘Beside Myself’ a singular descent into vantablack-coloured dystopian club-tronica.