Dornik has come out of leftfield to release one of the best quality and most addictive pop records of recent times.

It isn’t entirely comprehensive, lacking the fabled Witmark demos (which have already been collated in the Bootleg Series). What ‘Through The Open Window, 1956-1963’ supplies, though, is wonderful curatorial nous, one that gives it a palpable narrative thrust. You’re pulled through time to the streets of New York in the early 60s, and behind each door lies tantalising secrets.

All Hell’ is the quintessential Los Campesinos! album. Big, bold and brash, whilst at the same time succeeding in retaining the band’s politics and indeed their humility. .... The band have bared their guts once again, and never, ever has it sounded so good.

‘As The Love Continues’ is Mogwai at their best, and is possibly their most consistent record since 2006's ‘Mr Beast’. Their mums should be proud.

An album of stunning ambition and outright defiance, Everything Not Saved Will Be Lost Part 1 rips apart everything you know about Foals, a bold transformative work, as inspiring as it is urgent.

Confessional yet cathartic, ‘Metalhorse’ is an emotionally resonant piece of work that is vital, vivid and showcases why Billy NoMates is an undisputed ‘Tor’ de force.

Best listened to with the context of Part 1, the way Part 2 rounds the 'Everything Not Saved Will Be Lost' era off makes for the argument that this is Foals' most accomplished body of work to date.

This is not just West's best album, it's a keen contender for the most ambitious LP in hip-hop history. West side story!

With Screen Memories, Maus once again welcomes all that dare enter into his all-consuming, oddball world.

The impact of his earlier existence as a jazz player also noticeably infuses tracks ‘Betelgeuse’s Endless Bamboo Oceans’ and ‘Ode to The Pleiades’, attaching another rich dimension to this record.

Lemonade is Beyoncé at her most benevolent, and her most unadulterated. Treating her blackness not as an affliction but a celebratory beacon, Lemonade is a long overdue, cathartic retribution.

‘3AM (LA LA LA)’ is Confidence Man at their raviest, their naughtiest, their most confident.

A mix that has 2017 in its pocket.

‘SABLE, fABLE’ is a record of rare beauty and hope that fits neatly into the catalogue of an outfit that has never failed to deliver something extraordinary.

It’s not easy to write an album about yourself without seeming egotistical, and it’s also not easy to write one which touches on themes of gang violence and poverty without falling into braggadocio or morbidity. On this album, Vince Staples has pulled off both. It may be a short album, but it’s an incredibly deep one.

It’s one of the most disturbing, hilarious, and unexpectedly touching records of the year.

Clairo is clearer now on who she is and who she wants to be. On ‘Sling’ there is the sense that Clairo is in flight, except this time she isn’t running away from her little ghosts. On this record she runs towards them, even dances with them a little.

The Baltimore duo have somehow gifted us their masterpiece, and though the rain outside has now stopped, new heavens have opened.

A breathless, breathtaking achievement, Chris is a fascinating, infectious, endlessly suggestive work, an ode to 80s pop bombast that uses those splinters to build and then de-construct countless glimpses of Héloïse Letissier. Somewhere in amongst these myriad of definitions is Christine And The Queens, a shape-shifting pop entity perpetually aiming for something greater.

Despite the elongated nature of its creation, Black Messiah is a fluid, confidently cool piece.... A real showcase of his incredible talent.

And so it brilliantly goes. ... These are classic Sparks moments, full of comedy, clever wordplay, deft explorations of all the myriad issues of the world, with arrangements that sound as current and fresh as a dew-soaked spring daisy.

Young Fathers possess that which makes the best British acts truly special: a singular identity born of multinational mixology.

A collage of trip-hop, screeching guitars, and anguished vocals, ‘Evangelic Girl Is A Gun’ is a truly complete project, a series of vivid portraits well worthy of their own gallery.

‘STARFACE’ has the confidence of an artist with far more renown like (dare I say!) Bowie or Prince. There isn’t much filler here, as each song leaps into 4D with a psychedelic, soulful soundscape that’ll take you to space.

With both these lyrical and sonic accomplishments, Foals have created a fine record with a very solidified sound that will be the soundtrack for the summer.

A potent debut album. Succinct yet packed with stunning detail, it refuses to take the easy way out, and that stubbornness may see Squid outstrip their peers in a head-long race towards a re-engaged future.

Smother does exactly what it suggests but with a poetic fragility and an exacting panache that enthrals and entices like never before. An essential album.

This band is having a ball, that much is plain. It’s a danceable album, upbeat in tone basically all the way through. On ‘Zero Sum’ especially, it all starts to pop off – savour the evergreen treat that is Thom Yorke being a snarky little so-and-so over a raging fucking bop. You love to see it. The slow number, ‘Tiptoe’, is absolutely gorgeous.