Impactful and often unexpected, ‘PUNK’ breaks new ground within Young Thug’s identity.

Frusciante has managed to pay ode in a way which sounds original, yet adheres to the formula... all in all making for an impressive electronic album.

Perhaps it’s their captivating storytelling taking a psychological turn, or maybe it’s the way they’ve incorporated cutting edge electronica, pop and R&B elements into the melodic energies of classic new wave, alt-rock and indietronica, but, ‘Fix Yourself, Not The World’ is a record that will appeal. It is arguably their best work yet.

Yes Patti Scialfa joins him for ‘Tougher Than The Rest’ and ‘Brilliant Disguise’, but other than that it’s just The Boss doing what he does best, “To provide an entertaining evening and to communicate something of value”. And in all honesty that’s all we could ask for.

‘The Good Kind’ is full of dynamism and energy with pounding riffs and basslines. The trio are clearly revelling working together again on their sophomore LP, delivering on what fans might expect and showing the role each member plays.

A solar system held in place by its own revolutions, ‘The Slow Rush’ is testament to the patient productivity and unrelenting creativity of Kevin Parker.

‘Miracle’ delves the depths of human introspection with a tangibly cathartic gleam, imbued with an essence of that wondrous beauty that only miracles can possess.

Rammstein have resurrected to bring us their seventh studio album. And boy is it the record we’ve all been waiting for.

‘What an enormous room’ is an amalgamation of its title: an expansive collection of tracks, difficult to define, but somehow remains undeniably TORRES.

It’s an effortless comeback, then, that almost plays like a greatest hits set.

A record that allows itself space to shfit and evolve, ‘Home’ is both airy and immersed in strong roots. A Canadian in Los Angeles, Rhye is proof that ‘Home’ is where the heart is.

Delving into the modern complexities of society, her personal inspirations throughout her life, and developments of self as an artist and producer, the album reminds listeners to question and demonstrate awareness, whilst musically reaches new heights for the producer.

It's dramatic, emotive, a little cheesy, but magnificently good fun.

A raw, primitive nod to the planet we inhabit and our connection to it.

It's pure, carefully conceived theatre, at a pace that you can never predict, without being an emotional descent that spirals over and over until you're wishing it'd buck its ideas up.

CHVRCHES are a still a terrific alternative to the barrage of mind-numbing EDM and soulless euro trash of acts such as Icona Pop that permeate our airwaves and devour advertisements. Another heavenly and peerless collection from the Glaswegian synth-poppers.

A song cycle that touches on identity, loss, and the path through it all, it’s one marked by maturity and a growing awareness of the potency of her own talents.

An illustrious tour de force, this is experimental music that balances what’s classic, classy and cool.

Succinct and ultra-tight, ‘I Told You So’ clocks in at nine tracks, yet its breathless manouevres move from post-bop phrasing through to 80s stadium pop, somehow tying them all together with the effectiveness of their mission. A record that gets under your skin, the Delvon Lamarr Organ Trio are well worth tracking down.

Nothing about this record feels forced but instead encapsulates Kesha’s outlook on the crazy and weird rollercoaster that is life itself.

She’s opening out her sound, and finessing her approach. The results are immaculate – and she’s only just getting started.

Definitely not a reinvention, it plays to the band’s strengths while amplifying new qualities, a record as bruising as it is subtle. Working to their own passions and desires, ‘Blue Weekend’ places Wolf Alice beyond the reach of their peers.

A beautiful outing in hauntingly pastoral heartbreak. Impressive.

[Gibbs] expertly negotiates Madlib’s minefield, forcefully popping words off the producer’s gorgeously mined snares and snatched vocal loops.

‘My First Album’ is bold, fascinating, and addictive. A dark pleasure for summer season.

Some of the fragile innocence may have been replaced by moments of casual philosophy and effortlessly grandiose anthemic pop (‘Zigzagging Toward The Light’, ‘Kick’), but Oberst can still throw out quietly stirring minor epics using little more than a guitar and quiet musings.

That the groove will be locked down is never in question. Silk Sonic are gonna do what Silk Sonic are gonna do. The only question is whether you or the unnamed love interest are joining them. And you should. 'An Evening With Silk Sonic' is a real good time.

Sleep Well Beast is an album that rewards repeat listens and unfurls its beauty slowly over time: The National have yet again made an album that’s as brilliant as it is ambitious.

Whilst it lacks the character and vivacity of its predecessor, ‘Dawn FM’ develops the latest reinvention of the Weeknd with its dramatic instrumentation and refreshed view of the world.

Daniel Knox is a storyteller who paints a picture with his colloquial descriptions and his deep, husky voice adds an authoritative presence in ‘Won’t You Take Me With You’.

Flitting between the glamorous and raw, the album thrives on contradiction, delighting in camp spectacle and coarse truths. Dancing amidst this ambiguity, Smerz’s allure, vulnerability, and dry humour makes this darkly dazzling record a potent reflection of cosmopolitan womanhood.

His most well-rounded, diverse, and unrelenting body of work to date.

As a debut, it cements the band as one with a long path ahead of them. As an album, it’s a deeply moving, mesmerizing work with themes that stick with you long after listening.

Reachy Prints is yet another artful and aerial treasure.

This is a sound of a warm, human futurism. A record that feels impressionistic and abstract, dominated more by feeling than theme. Heavy sounds deployed deftly. Sometimes it feels a little fragmented (like on the slightly off-kilter swagger of ‘We’).

It’s a time capsule of how Cash was feeling in the early nineties and is a reminder of his immense talents as both a singer and a songwriter and serves as a poignant and career-defining moment of the Man in Black’s enduring musical legacy.

A body of work that will bring more comfort to longtime fans of his like a big fat hug around the middle, it’s packed with enough pop chops to rattle stadium floors, and dominate the kitchen radios of the casual listener for a while to come yet.

Real Estate emerged as a band renewed, the palpable unity in these performances amplifying their sense of purpose. A Springtime joy.

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

While mostly pensive throughout, each moment on ‘Sonido Cosmico’ feels different from the other; each picture evoking something different from the imagination. It’s hard to find a track not to like here.

Clocking in at 56 minutes, Primitives doesn’t overstay its welcome by overreaching yet it shows that Bayonne has more tricks up his sleeve, which he should easily be able to demonstrate in his live shows.

This timeless and fascinating collection takes you on an unparalleled sonic journey that represents the brilliance, emotional connection and enduring legacy of the band that can be found in abundance both on record and the live stage.

‘Song For Our Daughter’ is a powerful and resounding success, and re-affirms Marling’s position as one of our most important feminist songwriters.

Listening to ‘No Gods No Masters’ feels like listening to Garbage again for the very first time, which is a terrifically thrilling prospect.

Fabulously varied, at times unashamedly extravagant and with a consistently joyous urgency, 2013 may be a historical document but it points to a very bright future.

A gigantic album.

If you like your pop with a bit more bite to it, then Tegan and Sara are everything you’re looking for.

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.

The spaces in-between are almost as important as the notes themselves on a headphone album with which to brave the winter.

Antonoff, enhances his co-collaborator’s foundations here: take the humming on ‘Sober’ which comes accompanied with subtle, minimal keys – the perfect backdrop to Bartees’ candid songwriting.

Despite having to navigate different kinds of losses to get to this stage, Tucker and Brownstein have emerged stringently triumphant, their bond stronger and more unshakeable than ever.

Falling Down A Mountain marks the return of a bolder spirit and, as a result, there is another truly great Tindersticks album to add to your collection.

‘Burden Of Proof’ pushes Benny The Butcher back to the forefront, and offers further evidence that Griselda is one of the most vital labels in North American hip-hop right now.

Whereas 'Hey Go' claws at cabaret crushed velvet, and 'Officers Club' funks Scruffily, 'Manalog' is the sole, slightly noodly odd one out on an album of big punchlines, defrosted drum breaks snapping necks like breadsticks, and foibles for the eagle-eared to pick out listen after listen

‘You Are The Morning’ slides neatly into a certain lineage, while also more than holding its own. Across its 13-track span the record asserts itself with a beautifully framed sense of character, graceful in its approach and empathetic in its revelation.

The samples are cleaner, more deliberate — used to tell stories rather than simply reference them. From Sugababes and Basement Jaxx to Just Jack and Nardo Wick, the influences are varied but handpicked. That full-circle moment on ‘Stars’ is one of the mixtape’s most striking flips, a clear sign of how far she’s come.

A record worth savouring, it sits alongside NewGen R&B talent – step forward ChloexHalle, we see you Kiana Lede – while retaining that classic touch.

Hyper, aggressive, silly and just-bloody-gorgeous, it's a perfect microcosm of the album as a whole.

The project does retain a level of focus and direction, despite the chameleon-like nature of Crosses, making for a thoroughly enjoyable and dynamic listening experience.

It’s fair to say Jordan has delivered an album worthy of its 90s indie antecedents, even surpassing some of these.

Combative, empowering and unashamedly fun.

Whilst there is a real danger to being overly nostalgic, this album hits a happy medium.

By Storm have come up with an engrossing quasi-debut here, one that slots them firmly into the lineage of experimental rap acts of yore (the great, somewhat unsung Dälek deserve to be mentioned again), but also feels wholly modern.

Revealing, often beautiful, ‘Service Station At The End Of The Universe’ has a heart of gold.

Infinite Arms is their strongest album yet, perfecting their instantly recognisable sound with Bridwell in fine voice throughout.

Essentially, it’s rock’n’roll at full pelt; Bob Mould doing what Bob Mould has always done best.

Closing with the beatific ‘Ablaze’ – with sonic shades of John Martyn’s crepuscular ‘Small Hours’ – ‘Casade’ made lack the breathless ambition of Floating Points’ orchestral manoeuvres, but that’s not its purpose. A resetting of the dials, it transplants the producer from symphony hall to sweaty club, and that alone makes it truly vital.

Reborn through anguish, Hookworms are alive and otherworldly as ever.

Much more than a simple retro retread, it bursts with life and invention, fuelled by the clear joy of the central ensemble.

Pushing 50 Iron & Wine proves he still has much to say in a hypnotic record full of lush production, highlighting the warmth and timelessness of his vocals. If not one necessarily to win over new fans, this will delight longtime fans who have been along for the ride.

Although just seven songs long, the third album from San Francisco psychedelic rockers Wooden Shjips is a remarkably dense, intense affair.

The electronic palette moves him in a fresh direction, and although some of the mid-section does congeal into one, the album’s overall arc is a successful embrace of personal, and above all sensual, evolution.

Cocoa Sugar is a record that merits mass appeal recognition, a timely offering educing the moral panic fever reigning over our everyday existence.

There is no doubting the power Roddick and James are wielding on ‘Womb’. The talent of Purity Ring as songwriters, instrumentalists and visionaries is clear to see – it will be interesting to see where the band can take their sound in years to come.

The album as a whole is smooth, straightforward, and well-ordered, and bears lyrics that are an ode to both Goswell’s and Clarke’s musical genius.

Big layers of instruments dual with and complement each other via weird time signatures, and inspired, complex riffs that sound like they’re scoring a car chase from a cult Seventies film, mixed with bursts of electronic futurism--perhaps best displayed on the album’s title track--a manic, brilliant piece of instrumental songwriting that shows Jaga Jazzist to be at the top of their game.

‘Only God Is Above Us’ is an elegant summation of the band’s journey and strengths – of joy, sincerity and a feeling of believing in and offering calm amongst the chaos.

On the surface, a welcoming, accessible, wholly beautiful record, but laced with depth, allusion, and verbal knots that refuse to be untied. It’s addictive yet confusing, instantaneous yet difficult to fully understand--it continually forces to you to cease arguing, and simply listen.

Kelela treads new ground unlike anything in music today--cavernous, avant-garde R&B that moves the body and heals the broken heart.

On bygone albums he has displayed his own level of assertiveness; this is strictly a diffuser of pent-up situations, perfectly balanced between the background and forefront of your get together.

‘It’s Nothing’ is a good old-fashioned album in the best sense: 10 tracks, each well crafted and strong enough to stand alone, combined into a coherent whole.

As a whole, this ambitious compendium of some of George Harrison’s finest tracks are ideal for fans discovering the magic of ‘Living In The Material World’ for the first time, or indeed for those wishing to revisit it.

From the delighted cheers of the fans to the simple message of ‘merci’ from Sleater-Kinny themselves Live In Paris is the sound of band who--frequently under-rated, sometimes unjustly ignored--have found a room of their own. This is their time.

It’s an evocative rush of a listen - if Watson insists on making yet more music outside of his day job, we’re glad it’s as fun as this.

Expansive and exploratory, powerful and hymnal.

Cinematic in its scope, the album runs like a screenplay with character developments, recurring themes, tragedy and, finally, resolve.

Michelle Zauner’s most mature offering to date, and one that grows on you with every listen. This is a record to get lost in, an album to soundtrack your moments of reflection. Bewitching, bold and most importantly fresh territory.

Sam Akpro finds a fascinating way to piece together the present time, and in return has produced his finest work to date in an introspective, yet also reflective fashion detailing the complex yet compelling world.

A mystical brew of funk, gospel and delta rock.

Glow is that rarest of beasts: a dance album that is equally as good on the dancefloor as it is at home.

Disquieting divinity, duly delivered.

Consistent ruggedness, the sort that brings wicked grins of appreciation, shows a toughening up for new employers.

‘Every Inch of Earth Pulsates’ is an apt title for an album that doesn’t waste a second in getting your feet moving. By throwing their hat fully in the indie ring and hooking up with Orton, the band has found a clearer identity and produced an all-killer, no-filler statement.

It’s less of a ‘Burden…’ expansion pack and more of a statement in its own right, one that underlines Benny The Butcher’s ascension as one of the most vital voices in rap today.

Santigold is at her best when the production behind her has plenty of Caribbean-inflected bounce but throughout 99¢, she proves that she deserves more success than she gets.

Worthy of comparison to the late career stylings of Björk, Plunkett’s vocals often steal the limelight but, make no mistake, this album is considerably more than the sum of any individual part.

Picking up exactly where they left off, The Raconteurs’ denim-clad early ‘70s reference points are in check, delivered in gleeful, exuberant, electrifying fashion.

The second Telekinesis album suggests that Michael Lerner's gift for hooky, college-radio friendly indie-pop shows no signs of abating.