Whilst the premise of this album is for Ariana to purge all memories of her previous relationship whilst coming of age into her third decade, it’s highly unlikely we will be forgetting about ‘Eternal Sunshine’ any time soon.

Occasionally Jaga Jazzist paint themselves into a corner--the ending of the title track plucks an earlier riff out of nowhere and it feels a little like they took the easy way out--but Starfire is never anything less than thrilling.

At once a joyous, celebratory ode to motherhood, elsewhere finding quiet liberation and acceptance during life’s darkest moments, it’s clear, Meg Remy has delivered her most hopeful album yet.

Beautifully crafted, eccentric and disturbing, but essential pop all the same.

A fantastically consistent, perpetually illuminating full-length, it shows Nas to retain a hunger, and sheer fire that so many of his peers have lost. Recalling former glories while remaining fixed on the future, ‘The King’s Disease III’ underlines the rapper’s current creative streak.

Never boring, never dull, this is a glowing, fire-breathin’, thunder-clappin’ ghost train of a record.

It sees the Canadian doing what he does best--welding samples together obsessively, and wailing a lot over the top.

An unusual, beguiling collaboration, you hope it’s the first chapter in this duet, and not the last.

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

The lyricism is what makes the album escalate from good to great.

Every track is excellent, ruthless, relentless.

The swagger comes in the form of knowing your strengths and for Stern, she's put all of them on display with Marnie Stern.

This album is a rich Norwegian delight.

A potent third record that retains a pop heart whilst wandering off into compelling new terrain. Her exploratory take on pop is gorgeous, redemptive, and full of life.

‘Forever Blue’ is a confident debut, one that carries the weight of experience beyond her years.

In carrying on from their debut and giving it a more personal feel, Folding Time tweaks into a malleable multi-purpose listen.

A bold first full album from a trio whose ambitions are clearly only getting bigger.

Equally fragile and resplendent in its execution, it's the kind of album that stays with you long after its haunting close.

A rich, rewarding, and extremely direct return, one worth observing on its own terms.

Overall, When I Get Home is a triumph, and is the kind of album you put on to reach your calming, safe place, when you get home at the end of a long day.

A brutally funny, scuzzy and lacking-in-seriousness affair, it truly is one of the most entertaining New York guitar albums of modern times.

Heavily weighty with fiery doom and gloom, Lauren Mayberry masters the art of colourfully abstract lyrics.

It is to the group’s credit that they manage to balance the disparate influences and styles with such panache. It is one of the band’s strongest to date and one fans will come back to time and time again.

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.

While this may not be as perfectly realised as "Black City," it's still a beautiful, complex, weird and bold album.

A remarkable return to form by one of rap’s finest wordsmiths, it’s Pusha’s most focused and cohesive solo effort to date, and one of hip-hop’s strongest long-players of 2015.

While Jurado’s music has, on occasion, seemed a little slight, this is an endearingly ambitious, somewhat unexpected folk-rock triumph.

A powerfully affecting song cycle, ‘On Grace & Dignity’ peels back preconceptions, stabbing straight for the raw nerve.