This album won’t please the fans who wanted ‘Malibu’ again because, simply put, it isn’t. But for those who are excited by an artist unafraid to reinvent and experiment, then look no further.

‘Dopamine’ isn’t a raw confessional either but a balanced, art-directed exercise. It’s a debut that hits the programmed sweet spot, conversant with contemporary trends and greater RnB and soul traditions.

Amid the glitz, the hype, the online intrusion, Don Toliver still locates a space to call his own – and that’s what makes ‘Love Sick’ so thrilling.

‘All Her Plans’ is a triumph, a record that will certainly send these Aussie rockers to soaring new heights.

It’s the Gaviscon after the turkey dinner; the strategic nap to escape the family. Like the best sort of present, I didn’t know I needed it until it arrived.

It’s a perverse and challenging listen that makes very few compromises. But the album is also both intensely lyrical and supremely musical--and it plays out in a way that is designed to be perversely uncomfortable for the ears.

‘Blue Rev’ is a magical, twisty excursion to a crossroads where the band simultaneously reflects on yesteryear and explores the turbulence of divergent realities.

We have no right to expect a band to make a record this strong and vital almost three decades into their career. It’s full of piss and vinegar, but it’s full of desire, regret and love, too. Whatever the dismissive album title may tell you, Arab Strap very much still give a fuck.

Accept no imitators; SALEM are back and are still capable of giving us the ultimate soundtrack to the end of the world as we know it.

In the wrong hands this kind of indie pop could become trainspotter-ish, or an exercise in technical skills and box-ticking – as it is, ‘Holo Boy’ is a wonderfully enjoyable cycle of straight-down-the-line songwriting.

McCartney produces his most real, immersive, and innovative work, and roles a mellotron in for good measure.

Ultimately, ‘Introducing...’ thrives because of how natural it feels – a record as authentic as the dust on Dan Auerbach’s control booth, it places Aaron Frazer as a golden-voiced embodiment of this modern soul age.

To be clear this is far from a melancholy album, in fact it is more melodic than their EPs, but still retains the very essence of Humour, with their vividly unique view of the human condition.

Cloud Control's debut is making an early play for the feel-good record of 2011. There are more hooks in Bliss Control's thirty-nine minutes than in Captain Birdseye's entire fleet.

It’s a record that makes incisions into the staid, one that knocks over the steadfast; it’s a bold, thrilling construction, one that pushes her history to one side in order to build anew.

It’s not all perfect - no pop record that takes as much chances as this could ever hope to hit 10/10 home runs - but it’s certainly entertaining. Direct, up-front, and completely unabashed, ‘Poster Girl’ finds Zara Larsson living up to the fame that has surrounded her for more than a decade.

Categorically not your ordinary Christmas album, and one to check out now if you missed it the first time.

‘Notes On A Conditional Form’ is lyrically playful and musically a step away from being confused for a compilation album of the best tracks this group has ever released. But that confusion is warranted. This is The 1975’s quarantine Megazord.

Earl Sweatshirt is telling truths rather than forging fantasy, and Doris is a disturbed and penetrating journey into the mind of the boy that came back from Samoa.

An album that’s both heartfelt and sincere and utterly irresistible in the process.

Fender lyrically distances himself from his first-hand experiences on ‘People Watching’, adding a new dimension to his already accomplished repertoire. Still, this album is a quintessential Sam Fender experience – a heartfelt, homegrown immersion of the mundane and extraordinary people and places this dweller was lucky enough to know.

Emotion and passion are apparent in every word, key and chord throughout this project, boldly asserting Jamila’s second offering as a brilliant new addition to her own legacy, rather than a mere follow up to 2016’s ‘HEAVN’.

‘Loner’ is an accessible and creative collection of colour-splattered dance music whose myriad delights feels all the more impressive for the fact that, like all the best parties, it doesn’t even seem to be trying to be as fun as it is.

The album’s snappy 10 track run-list positively invites further plays, perpetuating this desire to keep the cycle going.

This body of work is as meticulous as it is melancholy, which is what makes it so profoundly personal and universal at the same time.

‘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.

The major success of ‘The Dream of Delphi’ lies in how Khan communicates with her daughter, which can resonate with many people.

Her balladry is simple, sparse, unfeigned and unpretentious, and her torch songs smoulder like burning embers.

Though they sometimes still miss, Twentytwo In Blue stakes out the loss of innocence that comes with growing up, and it does it beautifully.

A gorgeous, triumphant return.

The songs are slow moving wonders that gather emotional steam with each passing moment. The pay off to this is an album full of unflinching narratives, and thoughts, that, if you let them, have the power to stop you in your tracks. ‘Night CRIÚ‘ is an album to get lost in with this night crew.

Representing the sum of all the label's split personalities--including the rousing microhouse of closer 'Good Times'--it should be listened to more as a celebratory catalogue than a seamless concept LP; a worthy precursor to next year's 'Twenty Years Of...'

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

‘The BPM’ is Sudan Archives’ bravest album to date. Lyrically, she effortlessly sings about love, loss, redemption, mental health issues and, err, 1980s computer games. It’s refreshing to hear someone this comfortable in their own skin unburden themselves like this.

Songs on ‘Reflection’ transcend the boundaries of radio-ready pop music, are a reflection (no pun intended) of the larger shift of pop music to something entirely digital in every sense, a shift that seems to mirror that of the music industry in the past decade.

This collection’s predecessor, 2013’s ‘True Romance’, showcased an artist willing to take on the pop world. Sucker finds that same, singular performer rewriting the rules entirely, never mind breaking any, and beating pop at its own game.

A record that fits neatly in to the Maxïmo Park canon, while seeking to distance itself from it subtly.

It's an album in the true sense, each song a building block on an overall journey.

This is a pop album with built-in replay value, a work of real depth.

Again, like their previous work, 'Champ' is a short and sweet affair - but not one to miss or forget.

One for the long drive ahead as you watch the white lines get consumed by the night.

If you could see sounds as colours, a la synathaesia, this entire album would be a kaleidoscope of audio-visual, acid-trip imagery.

It’s another marvellous addition to the Father John Misty catalogue, delivered from a songwriter that surely now deserves to be recognised as one of, if not the greatest, of this decade.

A must-listen for those who like their metal with depth and mystery.

This may not quite be the best punk rock album about the Trump era you’ll hear in 2018--fellow 50somethings Superchunk already had a decent crack at that title--but it’s certainly one of the year’s most enjoyable bundles of rage. A thoroughly welcome return.

His words are stirring without ever being hyper-specific, and can apply to any trying situation that he or the listener has experienced. There is a connection with him through his delivery, which maintains the modesty and gratitude of a person just genuinely trying to figure his way through life.

Fitzpatrick latterly allows breathing space by lessening the intensity to a measly 85% or so; the beats keep rolling to a ubiquitous clatter of hi-hats until you’re flintstoning your dancing shoes and moving Zombie-like to the less than subliminal command of Session Restore’s ‘Speak Out’.

As natural and inviting as the curling of the leaves, ‘Shore’ is Fleet Foxes at their best. A voice of comfort for an atmomised generation, this is less album, and more treasure trove.

Bey channels the destabilising loss of her father and its attendant grief into something transcendent yet eminently relatable. ‘Ten Fold’, like the best journeying album, takes you along for the ride whilst serenading your anguish.

TERRY are over the hype and romance of being a new band and their music is richer for it, veering off in all directions.

A pleasing work of subtle evolution that taps into the group’s core values while teasing out fresh ideas.

All of these stylistic inspirations make AM an invigorating experience.

A pothead's dream and a supremely-crafted set.

These charmingly often positive tales are inspiring, yet it’s the combined nature which the producing delivers that makes this album shine.

It’s a record about growing up, and playing it straight; a more open, rounded experience than we’ve come to expect from St. Vincent, it’s a brave, fascinating record.

Carefully structured, ‘MAN MADE’ is able to caress the spartan sonics of ‘Away We Go’, for example, before plunging into the revelatory rock guitar of ‘Sinner’. In bringing such diversity together, the central creator is able to span opposites, and build bridges that perfectly amplify her touching lyricism.

Itasca’s ‘Imitation Of War’ is a wonderful record, one whose spell only reveals itself over countless enraptured listens.

Each track possesses its own surge of mind movement propelled by the depth of eclectic sonics, psyche and contemporary wording.

Madison has taken all the strengths of 2023’s Grammy nominated ‘Silence Between Songs’ to craft an impressive album full of vulnerability and powerhouse vocals.

With a distinctive sound that's certain to have mass appeal, this teen troubadour is set to smash it.

Enchanting and illuminating, ‘everything is alive’ proves that Slowdive’s pulse is still beating strong.

Driven by a passion to tell real, meaningful stories- without shying away from gritty topics-using their music, Skinny Diet Girl deliver with Ideal Woman a creation that has strong messages encapsulated in a brilliant soundscape.

It’s inspiring, and above all else incredibly catchy.

A heady, forward-thinking shoegaze distillation, ‘Bedroom’ is a vital listen, with bdrmm allowing their early promise to fully develop. Much more than a genre piece, it’s a vital delve into the power of our communal isolation.

This is an album that deserves big headphones and large sweeping views of grey coastal days.

‘Guitar’ is easily one of Mac DeMarco’s most humane, and emotive records.

The album is littered with exquisite collaborations.

These monumental tunes are totally bewitching from start to finish with heartfelt moments and deep intent packed into every second.

An observing eye, everywhere the spirit of Chan Marshall lingers, on a textured, fascinating album, one that feels as though you have been let loose in an endless hall of mirrors.

The group’s third album in three years, they never once let standards slip. All in all, the aptly titled ‘Glorious Game’ is a punchy LP with considerable replay value.

Latin lamentations and oscillating interferences spin sinful tales of transgression and violation, with a flagellating undercurrent of austerity, to create an uneasy, intuitive, idiosyncratic masterpiece.

‘Mind Hive’ will be remembered as an album that reminds us a price tag still can’t be put on our integrity – artistic or moral.

The band’s blend of baroque and alternative rock, sounds immense live and this show has rightly been selected as a testament to that. This is also a perfect bridge to whenever the group release their next material and with 21 tracks is somewhat of an early Christmas present for the band’s legion of fans.

Everything about it works, from the lo-fi artwork, to the lingering samples, measured basslines and sedate beats, but there is a feeling of urgency and gravity to these tracks.

Kodaline illustrate all the ingredients for greatness, with many a swooning chorus to invoke a thousand festival lighters held aloft.

‘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.

Where once the band may have occasionally caught your ear, these songs command attention throughout.

This is an album that doesn’t really need any artificial bluster to draw attention. The songs are more than good enough.

Although this is his first foray proper into the medium of electronic music, it's a masterful accomplishment.

Introverted and understated but not underwhelming, ‘The Night’ rewards repeated listens and while it is unlikely to provide the viral moment that returns Saint Etienne to their rightful place in the charts or troubles new audiences, it will more than satisfy the committed and may, with the benefit of an even longer lens, be among their greatest achievements.

This is strange, boutique folk-pop with a vitalised imagination--a rewarding listen, and then some.

Their third album in as many years, JJ continue to gather a pace and 'No.3' will surely propel them further into hearts and minds.

A hugely accomplished debut album.

The vocals on the album are flawless, particularly for tracks such as ‘White Rooms And People’. ‘Outside’, is perhaps the quaintest offering on the album, but is immediately followed up by ‘Be My Guest’, an industrial offering that sends listeners into a frantic dervish.

A rewarding evolution for the band.

For Sufjan fans, despite not belonging exclusively to their hero, The Greatest Gift is immensely enjoyable. For anyone not yet sold on the Michigan music-maker, well, you’re in for a treat.

Life & Livin’ It is a powerful reminder that basic truths, basic rights, are always the most important.

‘LOGGERHEAD’ makes for an unmistakably compelling debut, held aloft by the principle that sometimes you have to just scream it out.

It really spotlights his artistry and musical intelligence ranging from indie, electronic and folk. With so much going on it would be easy for it to be overbearing but he finds a way to bring it all together and flow wonderfully.

Much like the show itself this is a wonderfully crafted set (check out the deluxe ‘condiment’ vinyl), which is at times both smart, sweet and very, very, stupid.

Abnormal and mystifying, audiobooks amplify bewilderment on a remarkable second album.

As a whole, ‘Letter To You’ is a wonderfully warm experience, perhaps Springsteen’s most human for some time.

It’s been said that every era gets the monster they deserve. If this is the case then ‘Visions of Bodies Being Burned’ is everything wrong, and right, with the world distilled into 52- minutes of absurdist hip-hop. We’ve never had it so good!

Despite spanning only nine tracks, the album feels complete, a full arc from despair to declaration. In its brevity lies potency: an emotional journey which navigates heartbreak, self-discovery and resilience.

With Arise, the London singer continues her excellent run, delivering a refreshingly enchanting and intriguing project.

A refreshing and undeniably strong record.

This is space tourism, flying first class.

Right now it sits near the top of 2019’s jazz releases. However, if things continue in this fashion it might not even make the top ten by the end of the year, which is an exciting prospect to say the least.