There's no doubting the commitment in delivery though, with solid musical cohesion and a thrusting triple-guitar assault that has an astounding clarity and is expertly choreographed.

Richly melodic and possessing a classicist pop sensibility, this is rock music with soul.

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

‘New Long Leg’ feels a world apart from the staleness of so many groups tagged with the term ‘post punk’. Indeed, as a complete aesthetic statement, the debut album from Dry Cleaning hardly merits contemporaries at all – suffocating, surreal, and exploratory, it takes chances other groups could scarcely envisage.

As an album, though still swinging from one place to another with glee, The Underside Of Power feels important, and very, very serious, as a body of work. It is one of the year’s very best albums, and sets out Algiers as one of the decade’s very best bands.

Patiently moving into a new era, ‘Happier Than Ever’ is shrouded in a transformative darkness.

The project includes a host of features from some of the biggest names in the genre, who provide welcome (but somewhat unnecessary) co-signs as she herself manoeuvres with a standout level of artistry that leaves you in no doubt that she is indeed here to stay.

Even at it’s bleakest, All At Once is sheer rock’n’roll joy from start to finish.

Individually the songs are great, vibrant and bouncy. However, together it can get a bit too draining. Now, I’m not saying that this much pop is a bad thing – the album is a delight to listen to, but there is a lack of variation in both sound and texture as it’s all so IN-YR-FACE.

In ‘Postindustrial Hometown Blues’ they tell their story, but it’s a universal one. The sense of joy in using lyrics to express emotions is palpable, as is their humour. The duo use their musicality, shifting between soul and blues, punk and passion.

If there’s a lack of truly revelatory alternative takes, then Anthology 4 makes up for this by shining a light on The Beatles as people, and as studio musicians.

The magnificence of Lauryn Hill? The success of Sade? Tems is out there in a lane of her own.

It’s a confident and powerful statement, and one that underlines his complete and utter dominance of the genre at this moment.

It's easy listening, while thankfully having nothing whatsoever to do with the much-maligned genre of the same name--and the sort of fascinatingly layered album that appears demanding and austere from the outset but is in fact home to a set of beautifully realised songs.

A fantastic release, ‘SICK!’ pushes Earl Sweatshirt into a new chapter of his work, while adding further context to what has come before. The production work is impeccable, its dizzying imaginative flurry the perfect hinge against Earl’s lyrical precision. Short but emphatically creative, it presents an entire universe to explore, with its finer details laying in wait for repeated listens.

Self-possessed and uncompromising, this is a record with regal bearing.

It all combines to create a record that asserts Horn as an incredible and innovative talent both within the folds of folk and also at the forefront of the genre.

‘do it afraid’ radiates optimism; a timeless, full-bodied work that speaks to embracing the beauty of life amidst dark times.

She’s broken the curse, she’s woven a spell--and the self-described ‘luckiest little Scottish witch in the world’ is safe to cackle back off into the night, having created possibly the best album we’ll hear all year.

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.

Beautifully accomplished, ‘Weather Alive’ stands as an imposing career-high by a fine, fine songwriter.

Although uncompromising in it’s vision and delivery, Stranger To Stranger ultimately, serves as another fine testament to Simon’s craft and ingenuity as a songwriter.

She's brilliant, sometimes inspired, and this tenth studio album finds her gifts undiminished.

This isn’t just a Greatest Hits set, oh no, throughout Young and Crazy Horse throw out hidden gems and deep cuts. ... Again, though, we return to the question “If Neil had this and ‘Homegrown’ in the vault, what else is there?”

‘12’ is not an album to take lightly. It is an album to listen to intently as often as you can. With each listen you learn something about what it takes to be a great artist, Ryuichi Sakamoto is a great artist, but it also teaches us not to take things too seriously because one day it could all be over.

This is a deeply original debut from a raw, ambitious band, one whose post-industrial urbane quality (check out this awesome video of them playing in an abandoned New York tunnel) provides it with a terrific sense of place and texture.

‘Mr Morales & The Big Steppers’ is one of his most profound, complex, revelatory statements yet, a double album fuelled by sonic ambition, the will to communicate, and Kendrick’s staunch refusal to walk the easy path.

While one of her least immediate records, it stands as one of her most rewarding.