This impressive collection is a touching tribute to Petty’s enduring legacy and demonstrates his candour, artistry, and emotive storytelling. This is a real must have for any Tom Petty fan and paints an even more colourful picture of what has always been a masterpiece as well as unveiling an exciting treasure trove of musical gems which will inevitably become long-lasting Petty classics.

No less inviting than their debut, while asserting its own identity at every corner, ‘O Monolith’ is a fine second album.

This record comes on like the voice of a friend, confessional and familiar-- full of small, important reassurances.

At just under and hour the album isn’t notably long nor short, but there are no parts that drag or feel out of place. This isn’t a hip-hop album, a jazz album, an electronica album...but something that will speak to fans of those genres who’ll take this as their album.

Nova Twins’ sound remains 100% homegrown British beefiness. There are many people out there from across the rap-rock spectrum who will despise this album (for reasons both fair and foul), but there are many more who will appreciate the lack of compromise in this rollicking call to arms.

This is the strongest project Drake since 2013’s ‘Nothing Was The Same’, and one that owes itself to sounds across the globe.

Smart, soulful pop.

With the veteran experimentalists on a self-imposed hiatus--and now a drummer light--Not Music offers a stopgap if not a final full stop to a kaleidoscopic career.

Blood is a work that speaks for itself, an album that’s boundless, and restlessly pursues the ideas of its creator.

This record contains meticulous instrumental arrangements and clever storytelling. It is protest music without the cliché heavy rock sound and direct lyrics. Instead Maltese uses satire to place pity upon the world but mostly himself, all delivered with a wry grin and a sparkle in his eye.

A juxtaposition of life’s light and dark, glittering idealism and harsh realities, ‘Hard Headed Woman’ is a gorgeous display of classic country tropes, blues instrumentation and songwriting prowess.

Beautifully produced and blessed with Guy Garvey in fine voice, it's a small but perfectly formed step forward.

This third LP’s motley magic merits the coveted breakthrough that these Celtic chancers deserve.

It wraps you up like a sunny day in the middle of no where. But Lynch is never far from a party, and every moment of this record is glazed with fun and pop and excitement.

Overall, it's the record you wanted--and expected--AlunaGeorge to make three years ago. It'd be good to see them kick on, though; you still get the feeling they've an even better record in them.

This album embodies the 1976 punk sound 50 years on and despite the years, Buzzcocks are still as strong as ever and I can’t wait to hear what they have next in their new era.

The Atlanta rapper is just too slick, too fast-moving, and too good to truly bring down. ‘Mixtape Pluto’ offers ample evidence to his continuing singular form of genius.

‘Whatever The Weather is fortunately distinctly Loraine James; an unexpected new step of diverse experiments, and a perfect companion to a spring as of yet undecided on showing its face.

Its cleverness and humour burst like springs from an overstuffed rococo couch.

This album deserves your attention and is a perfect example of a group accomplishing and exceeding their full potential.

‘The WAEVE’ being a unique experience, bathed in a bold richness and brilliantly indulgent productions.

The songwriting is strong, representing Selway’s best – and must sustained – burst of solo work yet. His innate musicality shines through, and there’s an endearing honesty to the lyrics that filters across the music itself.

McMorrow loyalists may bemoan the polished sheen that characterises the tracks on We Move, but there is some genuine pop-soul mastery at display here, McMorrow’s sound more wholesome without renouncing the spectral quality that characterised his earlier material.

‘STAY HERE 4 LIFE’ feels like his re-commitment to the art, a high point on an album laden with anthems – ‘NO TRESPASSING’ is sheer, filthy club music, while ‘AIR FORCE (BLACK DEMARCO)’ marries Mega Drive electronics to impetuous flows. There’s subtlety, too.

Tastefully rambunctious, ‘What’s Wrong With New York?’ is a sonic melting pot of millennial and Gen Z sounds. With retro drums and abrasive synth bases, it’s a performance-geared record filled with pulsating bass lines, perfect for making bad decisions in a sweaty basement.

Sonically richer but still rooted in vulnerability, ‘Cruel World’ expands Humberstone’s palette without losing what first defined her sound.

A dazzlingly creative effort, it might well be SHOPPING’s most complete, concise, and fascinating release yet.

Defying categorisation, 'Fire Doesn’t Grow On Trees' feels simultaneously well-situated in Brian Jonestown Massacre’s expansive discography, while continuing their core ethos of subverting the indie scene, always looking in the opposite direction of the mainstream.

Kept to a trim 35 minutes, there’s actually surfeit of highlights on display – each track lands, while owning an incredible sense of breadth.

The freshness comes through in the delivery, which is as loose as electronic music permits, delivered with the bluesy rawness that frontman Dave Gahan wanted from the album.

Flamagra reminds us just how good Flying Lotus sounds when soundtracking transcendence.

It’s a record that captures the anxious state of the world and shows a more fragile Gaz Coombes, far removed from the happy-go-lucky teenager who wrote ‘Caught By The Fuzz’ and ‘Alright’.

Food is a fabulous and immediate record, rich with muted brass and low-key electronics.

Opener ‘Shock Out’ illustrates a playful approach that floats on the periphery of danger while ‘Slay’ sees her really flex her lyricism complete with a wavy flow. As is to be expected, The Bug’s production floats in the oxymoronic universe of heavy and atmospheric that is both haunting and devastating.

‘Sea Change’ is as epic as anything that came later, Knights’ vocal supplemented by a rich seam of orchestration, but much of the material here could have been lifted from those early recordings, where skeletal fret work frames angelic vocals. A return to the source.

What ‘Fleuves de l'Âme’ shows are that some albums are worth the wait as ‘Fleuves de l'Âme’ shows a delicate balance of killer melodies, tradition playing and contemporary electronica.

The battle between melody and noise at the heart of 'DEATH MAGIC' is a fascinating one, and the twelve songs on which it plays out are damn near bulletproof. Welcome to the most terrifying pop album of 2015.

It’s contagious joy to hear players with such abandon and intuition, braiding their lines together.

Although fans are nostalgically pining for the innocent, youthful sound of her voice from her early albums, there’s no questioning that she has a more controlled and comfortable vocal ability now.

A beautiful vessel for messy emotions, 'Build A Problem' is a tour of the highs and lows of living and loving in your teens, twenties and probably beyond; raw, full of questions and yet celebratory as it revels in its big emotions.

It is the very definition of a grower, simply because there are so many little things going on in stark contrast to her elegantly sparse previous release.

Undeniably formulaic but just as captivatingly beautiful, solemn closer Let Me Back In is the track-stopping highlight, painstakingly building to a crescendo before the ghost voices drift out. Glorious.

‘Juniper’ is a playful, exploratory and incredibly clever record – dealing with themes ranging from falling in love, mental health, music industry critique, politics, and self-love.

‘GRRR Live!’ has further cemented The Rolling Stones’ reputation as one of the best live acts of all times as well as being one of the most memorable shows in the band’s history.

We Will Not Harm You operates much like a London Sunday market in its vibrant, assorted survey of the electronic melting pot

There is a heady optimism to the album. Instead of claustrophobic soundscapes, Lake has built elegant drones around pockets of space that allow the songs, and listener, to breathe.

A daydream-like haze smudges the crispness of the beats while Lewis sings his osmotic melodies, his tones akin to Richard Swift gone disco.

Worth the wait for fans. The record balances its psychedelia with more mediative moments offering plenty of variety. This record again shows Auerbach’s musical influences and projects beyond The Black Keys.

‘Something To Consume’ is a brilliant debut, ambitious in the best of ways. The Austin outfit possess an unrivaled passion that is genuinely exciting, leaving their listeners eager for more.

‘Michael & The Mighty Midnight Revival: Songs For Sinners And Saints’ may be unwieldy, but its inviting, and has so much to explore.

Blurring the lines between inner and outer worlds, ‘Manning Fireworks’ is a powerful achievement, one that deserves to last.

Fresh Air is confidently obtuse in that it expertly harnesses the power in Sagar’s slightly off-kilter and out-of-tune instrumentation.

With this, Ghostpoet has created another fantastic, authentic body of work, meeting those high expectations.

It’s a fun record, and as adventurous as we’ve come to expect from Planningtorock.

It captures the trials of his journey so far whilst celebrating his current success and the gross potential to do even more. The collaborations are authentic and humble, apt for the LP’s subtly intimate nature. Lil Baby has set the tone for his next phase.

A record of curious indulgence, ‘The New Is Rising’ stands out through its bloody-minded singularities.

A gorgeous example of her beautifully sombre world-building, ‘Here In The Pitch’ is another remarkable example of Jessica Pratt’s unique artistry.

Unusual, refreshing and vulnerable KoKoro is an album inspired by the political, environmental and the human conscious.

‘Evermore’ wholly offers more conviction, without sacrificing the vulnerability that enamoured even her biggest critics earlier this year.

'Escapades' is an audible hallucinogen, and it’s a trip you’re gonna want to take.

GoldLink refuses to be one-dimensional here, offering up his dynamic and improved flow, as well as the vulnerability and edgy appeal that bubbles up throughout this project.

Although the second half of the record loses steam somewhat with a succession of slow R&B vocal numbers like ‘Your Space’ and ‘Feelings of the World’, Sounds of Crenshaw Vol. 1 largely maintains its coherence. Its slight messiness is representative of a life lived, something that in itself never coheres as a perfect narrative.

'Few Good Things' picks up steam with 'Still', a reflective collaboration with 6lack and Smino, climaxing four songs later on 'If I Had a Dollar', the most melodically ambitious and emotionally evocative song on the album.

CYHSY have created an album that is both jubilant and disarmingly vulnerable.

At once a relatively pragmatic re-release of already heard material and the satisfying conclusion to its previous flirtations, Joli Mai is a hybrid: part-album, part DJ-toolbox--and totally playable, in any context.

Stepping out of the shadows suits her after all.

The solemnness of the title track reverberates throughout most of the other tracks on the ‘Prizefighter’ album. It easily wins the ‘prize’ as the best song on an especially spectacular album.

Ibeyi has continued to present the bejewelled depths of their spiritual and ancestral heritage with great success; it's clear that their source is not only deeply personal but boundless too.

Half the tracks see the beats surface into formed drums but for the rest the stratification and distortion takes the sound field to new places. Dangerously engaging.

The band's fondness for over-long outros means that it occasionally drifts, where a tighter edit would have made it soar. But for the most part this is an entrancing album of spectral lullabies.

It’s a record that will make you smile and swoon as it burrows its way into your heart. A triumphant return.

The short and well-paced tracklist is likely to leave fans yearning for more. If Kehlani aimed to create a collision of the soul and mind, for the most part, they succeeded.

‘Jaime’ is arguably Howard’s most important work to date spiritually, let alone critically. Named in memoriam of the beloved sister she lost to cancer when both were in their teens, the album is a sonic sucking of the poison from the wounds of life, and the regeneration of the artist thereafter.

With a rich string chorus that runs through the final track and the songs preceding it, Soccer Mommy has created a dream-filled escape that always falls back to the present.

Just bask in The Unseen in Between enigmatic glory.

Outstanding work with the sound, abundance of catchy tunes and thoughtful, memorable lines make Rest an engaging experience for any listener, guaranteed to evoke or further develop the interest for the story of the illustrious Gainsbourg family.

For all their feel-good, boppy charm, The Orielles have created a truly intelligent indie-pop album with Silver Dollar Moment.

Get some eggnog inside you and give this enduring pair a little respect.

Not every song is as enjoyable as it is intriguing, with moments of too many detours and not enough destinations. However, while ‘The Twits’ feels imperfect, intentionally so, it also feels like the final cliffhanger before a chapter ends in a thrilling novel.

Wallowing, dreary vocals are effectively juxtaposed with electronic twinkles on the likes of ‘You Are’. But other tracks, like ‘The 5%’, seem too chaotic and narrowly miss their targets, resulting in an album just falling short of top marks.

Rarely has an artist’s death been so vivid. R.I.P. Actress; your dystopian electronic visions have widened our nocturnal vision. We now await your reincarnation.

They have created their most youthful album yet; a vibrant record which paints a picture of the near future so vivid it seems convincingly real.

Though it is far too early to start talking about this as one of their finest records, I have no doubt that 'Firepower' could slip through a wormhole in time to stand in the mighty presence of 'British Steel' and 'Screaming For Vengeance' and feel no shame.

Masterful in its softness of touch, Sault know when to apply and relieve pressure; at moments it can be intense, yet others are bathed in a beatific R&B halo.

A sometimes otherworldly, frequently tongue-in-cheek, and occasionally surprisingly punchy album. It’s a distinctive part of the Yorke canon which also stands apart as a musical reference-point marking the convergence of two creative minds.

Foregrounding mental health, love, and the transformative experiences of the rail replacement bus, ‘Hers’ is a beautiful glimpse of his creative essence.

Compelling and absorbing, The Take Off is a rich and rewarding record.

‘2’ is a stronger album than their debut. It takes more risks; it’s catchier and feels like a body of work.

With ‘Sometimes I Might Be Introvert’, the answer seems to be found in widening that scope and ambition in a way we’ve never seen before. The cinematic flourishes are cranked up and Simz is more confessional than ever, pondering what defines her as both Little Simz the artist and Simbi the person. It makes for addictive listening.

Here everything seems whole and fully realised, the sound of a fleshed out band sure in its own identity rather than the end result of a prolonged mixtape crush.

‘WET TENNIS’ is a refreshing collection of totally danceable pop bangers. It feels more ambitious than Sofi Tukker’s debut, resulting in a totally blissful listening experience; fine-tuned to get under your skin.

Open Here is a defiant and impassioned statement in which Field Music prove they have mastered the art of addressing the political and the personal simultaneously. It’s fun, it’s loud, it’s dense. It’s not content with wallowing in the state of things and wants to inspire positive change.

It’s a heady dose of spiritual funk that leans into the free expression of jazz. It’s an album that kicks hard from the off. .... Closing with the emphatic ‘Carry The Word’, you’re left feeling how defiantly modern, and devoutly unclassifiable Cymande’s music remains.

A strange, lovely and at times genuinely unnerving album that feels like a deep-dive into the subconscious of these hauntology pioneers.

All in, Unfurl seems a pretty apt name for the album. It’s many layers unfold and wrap themselves around you, like a warm blanket after an invigorating surf.

Loss, regret and shame are wound up in this album’s DNA, but they are balanced out by a generous dose of hope, a solemn promise that someone can go through the darkest of times and come out stronger, steadier and more complete than ever before.

An album is soulful consistency, ‘Sincerely,’ luxuriates in diamond-tinted sound.

Moss’ vocals and harmonisations with herself are a masterclass, supported by creative and tasteful production. Modular synthesis and glitchy-yet-organic drums are the engine of the record, the outcome being Moss’ best studio effort to date.