Badbea is a key part in Edwyn Collins’ remarkable solo career, one that has defied critics and doctors to wilfully do its own thing. A rich, vastly creative experience, it’s a further sign that Edwyn’s work remains something to treasure.

An album pieced together by a band in mourning, with the sweet sadness of O'Riordan‘s voice layered over, makes it cruder, rawer yet ultimately more truthful and hard-hitting, evoking the charged vulnerability of their very first releases.

Half of the time Barnett, sounds like she isn't even trying, shrugging out moments of brilliance with ease and nonchalance. Whether she sits and thinks or sits and does nothing, it would appear the results are still golden.

Everybody Down might have created a new genre: the album noir.

From the delicate orchestral arrangement of ‘Theme Parks’ to the frosty beats of ‘IRL’, the devil is in the detail on this pearl of a debut album.

Easy on the ear it isn’t, but Slow Focus carves its name into the synapses nonetheless, like some sort of unstoppable, power-electronics ‘In Utero’.

It is an unpredictable and highly eclectic listen packed full of depth and textures making this a must listen.

Reflective, intuitive and introspective, ‘Collapsed In Sunbeams’ is an immensely gripping debut. With no features, Arlo holds her own across all 12 singles and sets the bar high for those who follow.

An absorbing, mystical voyage that lingers in the memory long after morning has broken and the celestial observer has vanished.

Fletcher’s most revealing and revelatory body of work to date. The candid storytelling of loss and trauma, the pain of personal growth, and the power of true self-acceptance opens up to serving soft pop-punk brilliancy in an exhilarating yet hypnotising project.

This project combines many styles Hayley has touched on whether that might be with Paramore or independently, but her distinctive lyricism ties them all together into a discovery of self. [Review is based on the 17-track release]

Whilst your first few visits to the ‘Tranquility Base Hotel + Casino’ may feel alien and unwelcoming, you will gravitate ever closer to its shimmering outer-space treasures with each stay.

Regional Surrealism is an antidote to a busy life, and the arresting portal into a strange man's mind.

A solid debut then, full of yearning and barstool tales.

Occasionally, the lyrics wander into cliché but for the most part, it’s a strong addition to a stellar body of work and another welcome showing from one of music’s most consistent and underrated performers.

This is an album is subtle transition. Broadening the dynamic between light and shadow, rock crunch and synth splendour, Frank Carter & The Rattlesnakes grapple with their sound, oozing confidence at every turn.

So It Goes delivers on the promise they exhibited early on, successfully paying homage to NYC’s biggest hip-hop hitters, navigating busy, broken rhythms, and throwing up fresh perspectives with hazy, boom-bap production.

At just half an hour long, the record skips by in just enough time to take to the dancefloor, take a breath out the side door, and make it back to sweat your stuff to your favourite song.

'Great American Painting' is a record that is strongest for its instrumentation, featuring The Districts' typical cross-streams of guitars that amply lamenting vocals, intriguing listeners by making reference to social issues within America.

If anything, 'Proof' provides context to K-pop’s infiltration into the Western industry and gives reasoning to BTS’ dominance.

It’s a quietly self-assured and immersive album that should mark out and reaffirm Pratt’s singularity.

‘Automatic’ is emotionally-charged and is full of introspection, intelligent songwriting and despite touching on themes like loss and blurred reality is still poetically beautiful as it always is with the Lumineers.

While it doesn’t quite have the same urgency as ‘Based on a T.R.U. Story’ or ’T.R.U. REALigion', Pretty Girls Like Trap Music is perfectly positioned to be a 2017 favourite catering to both fans of this generation’s trap music and those that were knee deep in trap during its late ‘90s/early ‘00s inception.

Throughout the album, a more mature sound can be heard, which reflects their break from recording music, allowing them to evolve as musicians and songwriters on this more mature, risk-taking production.

This is an album that continually surprises. Rarely has the bleak mid-Winter been so inviting.

Running at 16 full-length tracks, Strength of A Woman can seem overindulgent. Songs that are enjoyable in isolation, or as a smaller subset, become either repetitive or forgettable in the context of the whole.

With only one relatively short album used as a basis for the comp, there’s some repetition over the course of the deluxe edition’s tracklist. It’s a relatively small squabble, though, an unavoidable conceptual one. ‘Mixes Of A Lost World’, for the most part, is a varied, refreshing listen.

Those uncharacteristic twist and turns--the hybrid of orchestral arrangements and classic indie pop formulas--give the album cohesion and a narrative despite seeming out of place at first. Still, the LP is testament to the group’s ability to churn out perfectly wrought, desperate pop, time and time again.

A far darker piece than her debut album, this is a downbeat yet profoundly affecting second act.

Hookworms have a huge, infectious energy, best evidenced on the wild organ grooves and ridiculously weighty drumming of ‘Radio Tokyo’, but some of the finest moments come when they adopt a more considered, less-immediate approach.

Their alt.folk stylings are ideal for unwinding to at the end of a long day as it calms and soothes the senses.

Eagle’s skill is in being relatable to the listener, approaching issues that could otherwise be interpreted as controversial with a soft-spoken and melodic flow that never comes off as preachy or aggressive.

Given time, it's enjoyably addictive.

Garden Of Ashes is redolent of a muggy swamp and just as easy to sink into.

Their future is full of possibilities; thankfully they didn’t go before their time after all, as Promise Everything is their best work yet.

Eight immersive and somewhat melancholic numbers that still evoke a great sense of calm. It’s a reflective record, made during a pensive season, British winter.

A fun and colourful indie album full of pop sensibilities, Different Days is a joy from start to finish and is further indication that Tim Burgess and co. show no sign of stopping.

It seems The Aces have achieved their goal however, to escape the indie clichés attached to pop bands using guitars, and have created a fully-fledged pop scorcher.

Mostly, Before We Forgot How To Dream reads a little like a portrait of Bridie's hero Joni Mitchell as a young artist: irreverent, observational and soulful.

Although I would not say that this album breaks boundaries or sparks deep emotional response, it is Fivio's formal introduction to the world with a heavy-hitting drill project which will lead the way for future drill projects globally.

It's upbeat, unusual and accomplished, an Asian rock 'n' roll space odyssey indeed.

This is a powerful reminder of the pair's quite brilliant lunacy.

Dominated by Satomi Matsuzaki's cute vocals, this is might be a laid-back record, but it's still one that's wonderfully challenging.

A bold and confident sixth effort.

The most curious thing about RUFF is how its narrative seems to hint at a band running out of energy and inspiration, and yet the music itself would say otherwise.

‘If it ain’t broke, don’t fix it’ seems to be the theme running through ‘Mercury’, the first LP from producer James Hinton in six years. And that’s by no means a criticism.

No, it may not necessarily have many outside their core fanbase reaching endlessly for the replay button, but its therapeutic nonetheless as the band delivers what they’ve promised ; a personable, relatable collection of tracks that strip away their blinding shine as idols, replacing it with their warm glow of humanity.

The production is minimal throughout, often foregrounding Ono’s one take vocals against naive sounding guitar and piano backdrops. Side Two showcases Ono’s childlike side and is much more fun.

Funky, frenetic and fast, Zipper Down is not for the pretentious listener.

Taking pleasure in the observations of daily life, ‘ilp’ comes bathed in highly saturated colours and rich textures.

Despite at times being muddled, Segall is not afraid to stand up and confront the audience, evoking the most visceral of feelings and pushing the boundaries of comfort. Divisive, but all the more brilliant for it.

This is a cinematic body of work that triumphs in its ability to meld a plethora of electronic styles together with the glue-like emotional intent of sentimental reminiscence, and poignantly reminds the listener to hold dear their loved ones.

Not Real proves a fun set--but whilst you can't help but admire Stealing Sheep for evolving their sound, with a few track tweaks it could have been an evolution which went so much further.

There’s nothing on this release to suggest that Clams Casino has ascended to the next level. In its own right, it’s further evidence of Clams’ special talents but for those who have followed his career closely, it’s hard not to think about what could have been.

The album does a good job of rekindling the connection with our younger, hopeful selves.

There's nothing here for the existing fan base but enough to entice new arrivals and strong enough to furnish a fresh interest from them.

As polished as a beach stone, it's a subtle, startling work.

The Yard Work Simulator may not be everybody’s cup of tea to listen through from beginning to end, but as a piece of work it is more unique, exploratory and interesting than many others that will be released this year.

It’s less of a seismic shift from their debut, and more of a progressive tweak towards something much bigger.

Ever the showman, Darcy and company have engineered a refreshing return which though softer around the edges than previous Ought releases, is no less gratifying.

There is plenty to unpack with plenty of anthemic moments but also moments of calm that help the epic tracks to soar even more. Dobson’s vocals and guitar work are both captivating throughout in a record that rarely has a dull moment and is full of spirit and spark from start to finish.

Independently released, ‘shame’ is raw and expressive, the result of infinite creative freedom after leaving their label.

At 40 minutes long it’s probably just the right length, and both beats and rhymes will have you reaching for the microscope to appreciate the layers and nuances of each, listen on listen.

A quiet, understated triumph.

By its very nature, Nat King Cole And Me isn’t anything groundbreaking; however the project is ultimately a well produced and excellently performed tribute album.

Everywhere ‘the rest’ feels less collaborative than ‘the record,’ and more about celebrating the three of them as friends.

While her debut could in places feel slight, this new record feels lived-in, and true.

Unmistakably catchy piano riffs and heart wrenchingly honest lyrics form the basis of the record much like Odell’s debut, however by amplifying the intensity on the new tracks proves that maybe, just maybe, more is more.

Congreave, has selected with more ambition than his curatorial Tapes predecessors.

Darkness Rains exemplifies a modern tap on fun house, whilst dabbling in punk-rock alternatives, with the militant beats and chaotic lyrics, making for a spiritually-driven listen.

The Connecticut trio boasts former Lauren Hill and Alicia Keys touring band members--guaranteeing The Stepkids is as tight as it is lovingly reverential.

It’s not a particularly groundbreaking Beirut album, but it is certainly a beautiful Beirut album.

Rag ‘n’ Bone Man has returned with a fine new album that allows fans to fall in love again.

This time, the concept of political awareness reigns supreme, accompanied by some funkadelicious licks from The Roots' guitarist Capt. Kirk.

This album was crafted amid relative calm, and this peacefulness is present in every track.

Lashed with swathes of distant bittersweet nostalgia, the record dabbles with elements of funk, electronic, indie and pop to form beautiful airy vocals and infectious guitar melodies, punctuated by rolling drums, through to delicate folk tracks which demonstrate the breath of Constance’s lyrical prowess.

Those who found Whitney’s honey-coated tales of love, loss and yearning to be just a bit too smooth the first time around are likely only to strengthen their convictions. For those themselves yearning for another dose, this album should definitely satisfy.

Impressively it's under a year after they signed to Heavenly and they've already released this very honest, charming slice of garage-pop

Bunny in its entirety is quintessentially disparate, a fleeting repertoire of the avant, and a keeper of both the nostalgic and the progressive. Matthew Dear is unlike the rest, as he invites us into his cathedral of sounds, and will undoubtedly ‘stick around in the house of your mind’.

As solo records go, Mayberry’s first is fun and often touching, but like many before, it is trying to find its identity.

Although the album is an exercise in euphoric clubland dreaming, tracks Closer and Everything Is Beautiful remind us there is perhaps a more sincere side to Kylie that is often overlooked.

Overall, Head Above Water is a collection of eclectic tracks and done well this could make for an element of surprise that keeps your ears perked in anticipation. Here, however, it makes for sonic inconsistencies that leaves you dissatisfied, wanting the bigger and better things that Avril is definitely capable of.

While there is nothing here as magically refined as 'Made-Up Love Song #43', and Dangerfield's lyrics sometimes veer into fromage-land, Walk The River represents a must-have for those with pop tastes.

There are a few moments that feel oddly dated or too by-the-numbers, but otherwise, this is an engaging return from the gothic dance-rock four-piece.

However you approach it, Take It, It’s Yours is an enjoyable, quietly seductive collection.

It's unfathomably exciting stuff.

Caro’s debut album certainly shines bright and is beautifully off-putting in everything it tries, from its lyrics to its musicality. The effects on you, however, will depend on your ability to be challenged by the music you listen to.

This eclecticism of emotion expressed instrumentally and lyrically is indicative of a matured songwriting style, and absorbs the listener at every turn.

The album is a sun-kissed trip with layered overdubs, shimmering guitar inter-play and a sense of wanderlust, a warm departure from the celebrated lo-fi debut LP.

As a whole, Breaks & Bone is a little samey, but as a showcase of one of Glasgow’s finest musicians, it’s a gem.

‘Rabbit Rabbit’ is a joyful listen. Its refusal to follow the norms is an inspiration, and an attempt at an act of defiance in an age when it is becoming harder and harder to go against the grain.

Sometimes, maybe, it sounds like they are trying just a little bit too hard. There’s a certain self-consciousness pervading the record. .... Having said that, Young Knives are confident enough in their own skin to know that just because a musical element may not be “needed”, we would all be much emptier without it.

Throughout the record there's the vague notion that Funk is taking a swipe at the synth fetishism that's made modular systems achingly hip again in recent years. Traditional in essence it may well be, but it's done with arched eyebrows and a knowing smirk.

For TNP converts this will no doubt be regarded as a masterpiece. But for the casual listener, it’s simply another solid 21st century ambient record to help while away the late hours.

There is an urgency heard in each song that completes ‘WE WERE JUST HERE’, as if to grasp at a fleeting emotion before it fades away.

The result isn’t always beautiful, but it’s rarely dishonest.

Opening your debut LP with its three least engaging tracks is a bold move that almost capsizes the whole project. ... Fortunately, bar a scattering of clunky lines (“I don’t want to die / That’s a lie”), the rest of ‘the record’ manages to successfully scale the vertiginous heights set by the eight solo albums preceding it.

This occasionally uneven, frequently thrilling, plunge into the past proves that sometimes the only way we can go forwards is by looking back.