‘Faith’ succeeds by offering not ony an elegiac portrait of Pop Smoke, but also a vision of what he could have become.

Less folksy, more funky, Kiss Each Other Clean is a rather more lively, sometimes even poppy record.

Songhoy Blues have once again produced an album for all. The small-minded stamp of ‘world music’ does not apply here (or should anywhere really). This is quite simply a record for anyone ready to get down to some beautiful rhythms.

Sigur Ros’ world-building abilities haven’t been dulled by a decade of group inactivity – each moment is laden with colour, and mood.

Jaar shows signs of evolving here, and it’s more than welcome. For a record that feels chaotic at times, everything falls into place.

Brief though it is, 'Strange Weather, Isn't It?' represents a remarkable sharpening of focus at a time of flux - and possibly crisis - for the band.

Leaving behind krautrock and other prog influences, along with most of their post-Brexit new wave tricks, they have begun their journey toward a cohort of self-assured artists—ones who, thanks to their more expansive vision, no longer have to copy the paintings of great masters.

Parastrophics is mischievous and atomised techno pop for listeners who think they've heard it all.

The Amazons have taken all the best elements of their previous records to create the album it feels they’ve always been striving towards. A whirlwind of polished, widescreen anthems, it’s a full throttle rollercoaster that you’ll want to ride again and again.

The first four tracks and ‘Take It Back’ are some of his strongest so far. It’s a gratifying epilogue to last year’s effort. He’s clearly sitting on a lot of good stuff, which we’ll have to hear soon.

Succinct, tightly wound, and often explosive, ‘Magic 2’ adds further ammunition to his remarkable late career high.

Minus’ new album succeeds with its M.O. In terms of artistry, it’s similar to the work of Kelly Lee Owens, blending accessible pop tendencies with techno infused experimental flair. Yet, and perhaps more importantly, Minus has said exactly what she wanted to say, in the exactly the way she wanted to say it on DÍA.

Big, bold and ambitious, it’s both a welcome return and a statement of intent.

A solid second record with tinges of brilliance, it’s another fine piece of work from the busiest man around.

‘Androgynous Mary’ is an excellent, excellent debut and examines themes of hope paralleled with despair. They have struck the balance perfectly.

This album signifies a moment for UK jazz but more importantly this a moment for Kamaal Williams.

On ‘Fearless Movement’ he’s made something that doesn’t feel overpowering to begin with. Less is definitely more and the songs here pack more of a punch than anything he’s released so far.

Instantly familiar while still feeling fresh; nostalgic while clearly the product of a band who’ve carved a niche rather than rest on their laurels, Is This Thing Cursed? is the album long-term fans have been clamouring for since Skiba shaved his hair.

This is proper modern pop music: fierce and intelligent in its explorations, defiant and cool in its tone. Wondrous.

What he delivers doesn't disappoint, and it's a tantalising glimpse into where R&B might be heading in 2016.

A daringly deconstructed soundtrack of the spheres.

On ‘Jupiter’, Nao has bottled liberation and turned it into a rich tapestry of sound, a sonic explosion of curiosity and play.

Imitations comes at the right time of year: like autumn, it has a decayed feel. Yet, this is more triumphant than simply bleak.

A stylish, impactful and accessible collection, ‘Negative Spaces’ is music for our post-genre, post-everything digital age.

Throughout, Kirk’s hyper-literate brand of songwriting is fully captivating, thanks in part to his propensity for a real zinger.

It doesn’t reach the heights of ‘III’ but probably crests ‘V’. His best work in a decade? A living legend re-asserts his worth, as if any reminder were needed.

Broad, in-depth, and held together by her singular sense of purpose, it’s time the world cherished this blossoming star.

Dark Eyes suggests they have the potential to be massive, if they can just work that out.

She’s perhaps bringing the sweetest voice so far to Hyperdub.

Overall, this is peak John Carroll Kirby and, dare I say, his strongest album to date. It hits all the points you want, and then some.

M.I.A.’s most consistent work since her debut. ... Yes, her myriad ideas are still tumultuous, but there’s precious few other musicians out there attempting such an ambitious and impassioned collage of words, rhythms and concepts.

One of the best things about ‘Time Bend And Break The Bower’ is how every song feels new.

Fade finds YLT at their most wistfully contemplative; a thought only softened by the paradox that this might just be one of their best yet.

The songwriting and hyper-futurism made easy are a case of Smart by name.

It completes Amaarae’s transition from a fringe Alté artist to a future-pop icon in the making.

He has vision and ambition beyond the scope of most of us and he is able to bring it to fruition. Long may he find new fans for his challenging but deeply satisfying work.

‘Possession Island’ aside, this is an energetic, upbeat, genre-expansive collection that ranks alongside Gorillaz’ best work.

His strongest album to date, and one of grime’s true classics – even if there is a not-very-good Ed Sheeran feature slapped in the middle of it.

The Neon Skyline is one of those albums that will probably never achieve the popularity with the influencers and loud crowds that one sometimes lazily associates with a “successful” artist. Instead, it’s more likely to be enjoyed by hardcore fans in a small venue eschewing the limelight for a communal lament of the lives of the narrator, Charlie, Rose and Claire.

A celebration of what makes Teenage Fanclub great, it’s a finely balanced LP of under-stated charms. ‘Nothing Lasts Forever’ they say – except, perhaps, for Teenage Fanclub.

On ‘Sorry I’m Late’, Mae Muller shows that it takes time to perfect and craft a great pop album and that’s what she has done here. Every track could be, and probably should be, a single.

‘Before Love Came To Kill Us’ has a number of strong tracks and is an excellent debut. Jessie Reyez appears to be in total control of this record and shows off her versatility, as well as her rage.

A singular, precise, and continually inviting experience, Clean finds Soccer Mommy reaching a new level of artistry, using her earlier releases as a bedrock to support her ambitions. A marvellous debut, it’s truly something to savour.

There is so much to unpack in one listen with some many beautiful intricacies to get lost in. With each part of the album bringing something unique.

FLOHIO’s debut shows a willingness to step out the boundaries like few other rappers, and she’s got the power to prove it. Out of Heart plants well-intentioned seeds; with some refinement, FLOHIO has a real shot of some bangers to sow.

The accompanying DVD features an early performance by this line-up, which is a mildly diverting if sonically unspectacular curio alongside a still largely splendid record.

‘WeirdOs’ is one of the finest debut albums I’ve heard in a LONG time. It delivers more than the promise of their debut 7” ‘OGO’ and the ‘Slice’ EP suggested. The songs are absolute chonks.

Much like Villagers’ previous releases, the overriding feeling is of well-crafted, thoughtfully structured songs. The intimacy created by O’Brien’s delicate voice is as ever enhanced by beautifully chosen tonal colours.

It’s an album in tune with sometimes grim social realities but one which doesn’t get wrapped up in them, privileging lovely tunes and a broad appeal. European Heartbreak is a triumphant wodge of sparkling pop.

It’s as though these songs have that uncanny ability to shut out the outside world and speak to no one but the listener. When you achieve that, you’re usually onto something special.

Whilst her talent has been evident in previous releases, there’s something in ‘My Method Actor’ that sees her stand taller, more certain. Yanya’s movements feel deliberate, smooth. An effortless transition from one song to the next, as if telling a story passed on to her, that she now gifts to you.

Blake’s lyrics often circle ideas rather than landing on them, leaving some songs feeling like emotional sketches. But that ambiguity is part of the album’s appeal. These songs feel lived-in and unresolved, the way real relationships often are.

Olivia Rodrigo has created another fun, varied and mature studio album, which perfectly contributes to her wider attempt to preserve her experiences as a teenager within her music.

2012 - 2017 is one hour and seven minutes of sample-heavy dance tracks--eleven in total. Those who are deeply inquisitive about music will have a field day on WhoSampled finding vocal stems from David Axelrod, The Delfonics and Kanye West. Those who aren’t interested in that will still find an album which has an instant impact as Jaar substitutes avant-garde dystopian techno with the most off kilter time signatures for something much more predictable.

Overall, the album does a fantastic job of showing us where Lou Reed was in 1965.

‘Bike Lane’ doesn’t quite strike the balance, and as such isn’t a highlight, nor is ‘Shiggy’. But they’re done so wryly, so knowingly, that it’s not a big deal and they don’t detract much from what is an assuredly sparkly album.

This is the Bollywood-tinged, swinging disco album you deserve.

While familair touchstones remain in place, they are thouroughly eroded and inverted by Doctor L's production adding subtle,a dn not so subtle, layers of noise and distortion along with a throbbing bass presense and post punk reverb.

Without getting too deep and meaningful and forgetting that Distractions is simply an album of indelible punk jams, it's also the sound of a disillusioned and discontented generation, and their collective vitriol speaks volumes for the rest of us.

Packed with personality and innovative sounds, this is an incredibly strong release.

Oxymoron is all killer, no filler--and despite some tracks here not quite translating to radio, in the album context nothing feels out of place.

Having made a transformative 34-minute leap from the hesitant ‘Can I Call You in the Morning?’ to this Girls-meets-Sex and the City big moment, full of energy, self-irony, and hope, The Beaches sound like they’ve finally forgotten their exes ever existed.

Revealing, emotional, powerful and progressive, ‘Fever Dreams Pts 1-4’ is an impressive and committed body of work.

This is a body of work which highlights his famed vocals, feels perfectly produced and guides listeners through the hazy uncertainty of love and loss whilst still offering something fresh and clean.

With 'Broken Equipment' BODEGA has transformed from a band to watch to something truly exciting indeed. Any early album of the year contender for those who like their music as sharp as a knife.

Never afraid to show both sides of the coin, this LP is powerful as he spits about hardships, politics, love and more; constantly referring to the title, he proves that not only is real rap back in style but so is realness.

An impressive development of their sound, KOKOROKO further utilise their talent, alongside a slew of collaborators, to hit on something a little deeper than their previous work.

His music marries complexity with club-ready thump, resulting in a dystopian dancehall of morbid booty shaking.

An astonishing debut from an essential new band.

Don’t listen to ‘Raven’ expecting immediacy. Instead see ‘Raven’ as a point of discovery, fostering dialogue on and beyond the dancefloor; an open expanse and a surround sound experience for the marginalised seeking thrills beyond the white gaze.

‘LOTTO’ is still a disorientating and mystical record—one that feels a little out of reach even after multiple listens—but it’s certainly one of the most compelling releases of the year, the kind of album you’ll feel drawn to return to again and again.

‘Someday, Now’ is a pretty perfect progression from ‘Return.’ It’s bolder, more individual, and, dare we say, more fun. Wonky indie-pop that’s built to soundtrack these strange days we find ourselves in.

‘Ongoing Dispute’ isn’t just the strongest material the band has released to date, but is filled with progress, lust and learning.

This is a playful project, not afraid to dabble with creativity but also showcasing both Denzel’s lyrical ability and Kenny’s creative dexterity, both artists’ visions. It’s as if they created a glitch in the hip-hop matrix, and one that would be welcome again soon.

An album that plays true to who MUNA are: inquisitive, bright, and ever-defiant.

Hallways demonstrates great writing, clever concepts, varying flow patterns and a solid ear for organic production--all of which nudges the boundaries without straying too far away.

This is an album that can make you weepy in the hazy blur of the wee small hours, and euphoric in the fuzzy afternoon sun.

[A] joyous debut album.

It’s a Greatest Hits album, not a B-Sides & Rarities collection. What it is is a relatively complete encapsulation (RIP ‘The Air Near My Fingers’) of everything that made people fall in love with this noisy drum and bass duo in the first place.

This notable departure from the dancefloor not only brings fans of her previous music and live sets along for the ride, but also wholeheartedly welcomes those who might never have set foot in the club.

For all its colour and intensity, there’s breadth here, too.

A glittering gem amongst recent releases, ‘IRL’ sees Mahalia defining herself as a long-standing name within British RnB.

Whilst there are still shades of James’ jangly indie-pop in parts, this album takes the band into a new sonic adventure where you hear lo-if leanings and pumping club beats.

JID’s latest release is a wonderful insight into the rapper’s formative years, and ultimately through the introspective manner allows for an enthralling listen.

High doses of intricacy and complexity are contained on Reward. It is a record that signals an attempt to find and hold on to meaning in life. Intimate and personal, it is also one where mumbling is the order of the day, and where a lack of clarity is desired, intended and legit.

In almost every way it is bigger than his debut, there’s urgency to the instrumentals and operatic crescendos, all in the aid of trying to observe the madness.

On what is his tenth studio album, he proves why he’s achieved such longevity in the fickle game that is rap. Tracks such as 'Turnpike Ike' showcase the four-time Grammy nominee at his very best, while his willingness to delve into topics outside of his luxurious lifestyle add a depth and gravitas to the record that make it a worthy successor to the original thirteen years on.

An audacious, adventurous, unclassifiable fourth album from the newly expanded Austin natives: this is a seriously self-assured sonic experience.

This is a record that chafes at the furthest out fringes of guitar lexicon; respectful of her influences while seeking out individualistic plains, ‘Last Night I Heard The Dog Star Bark’ is something to set your compass by.

‘Things Take Time, Take Time’ sees her breaching into a new territory while still residing in the safe net of her previous sound, making it an album to introduce her to a new audience and a pleasing one to entertain her already exciting fanbase.

A few listens, however, will peel back a casing and find that every track has its own M.O and spans the curvature of the emotional kinsey scale.

A step forward in terms of production and vision, but no doubt at quite a personal cost to Lukid.

By releasing a debut with such honesty at its core Lianne will find a nation falling in love with her.

Despite the continuing theme the mixtape is no way disappoints, exuding a level of excitement and appreciation of a body of work that Erykah display’s both through music and her own style.

An odd but beautiful and often remarkable album, Atlanta Millionaires Club has a depth of feeling that is difficult to shake off. Material that evidently emerged from a dark point in her life, this should represent the point Faye Webster steps out into the light.

‘This Stupid World’ is another wonderful instalment in their extensive catalogue.

‘With Heaven On Top’ is comforting yet absorbing, timeless but timely, a space to escape in while still feeling challenged, and still feeling entertained. Whatever it is, Zach Bryan has cracked it.

A rich, fascinating, and perplexing album, The Curious Hand continually deals out new and unexpected elements, stretching Seamus’ until it breaks into the spirit of fanciful experimentation.