Succinct and ultra-tight, ‘I Told You So’ clocks in at nine tracks, yet its breathless manouevres move from post-bop phrasing through to 80s stadium pop, somehow tying them all together with the effectiveness of their mission. A record that gets under your skin, the Delvon Lamarr Organ Trio are well worth tracking down.

Nothing about this record feels forced but instead encapsulates Kesha’s outlook on the crazy and weird rollercoaster that is life itself.

She’s opening out her sound, and finessing her approach. The results are immaculate – and she’s only just getting started.

Definitely not a reinvention, it plays to the band’s strengths while amplifying new qualities, a record as bruising as it is subtle. Working to their own passions and desires, ‘Blue Weekend’ places Wolf Alice beyond the reach of their peers.

A beautiful outing in hauntingly pastoral heartbreak. Impressive.

[Gibbs] expertly negotiates Madlib’s minefield, forcefully popping words off the producer’s gorgeously mined snares and snatched vocal loops.

‘My First Album’ is bold, fascinating, and addictive. A dark pleasure for summer season.

Some of the fragile innocence may have been replaced by moments of casual philosophy and effortlessly grandiose anthemic pop (‘Zigzagging Toward The Light’, ‘Kick’), but Oberst can still throw out quietly stirring minor epics using little more than a guitar and quiet musings.

That the groove will be locked down is never in question. Silk Sonic are gonna do what Silk Sonic are gonna do. The only question is whether you or the unnamed love interest are joining them. And you should. 'An Evening With Silk Sonic' is a real good time.

Sleep Well Beast is an album that rewards repeat listens and unfurls its beauty slowly over time: The National have yet again made an album that’s as brilliant as it is ambitious.

Whilst it lacks the character and vivacity of its predecessor, ‘Dawn FM’ develops the latest reinvention of the Weeknd with its dramatic instrumentation and refreshed view of the world.

Daniel Knox is a storyteller who paints a picture with his colloquial descriptions and his deep, husky voice adds an authoritative presence in ‘Won’t You Take Me With You’.

Flitting between the glamorous and raw, the album thrives on contradiction, delighting in camp spectacle and coarse truths. Dancing amidst this ambiguity, Smerz’s allure, vulnerability, and dry humour makes this darkly dazzling record a potent reflection of cosmopolitan womanhood.

His most well-rounded, diverse, and unrelenting body of work to date.

As a debut, it cements the band as one with a long path ahead of them. As an album, it’s a deeply moving, mesmerizing work with themes that stick with you long after listening.

Reachy Prints is yet another artful and aerial treasure.

This is a sound of a warm, human futurism. A record that feels impressionistic and abstract, dominated more by feeling than theme. Heavy sounds deployed deftly. Sometimes it feels a little fragmented (like on the slightly off-kilter swagger of ‘We’).

It’s a time capsule of how Cash was feeling in the early nineties and is a reminder of his immense talents as both a singer and a songwriter and serves as a poignant and career-defining moment of the Man in Black’s enduring musical legacy.

A body of work that will bring more comfort to longtime fans of his like a big fat hug around the middle, it’s packed with enough pop chops to rattle stadium floors, and dominate the kitchen radios of the casual listener for a while to come yet.

Real Estate emerged as a band renewed, the palpable unity in these performances amplifying their sense of purpose. A Springtime joy.

A fun record, but also one with real depth, ‘Alpha Zulu’ becomes an apt testament to the group’s continuing vitality.

While mostly pensive throughout, each moment on ‘Sonido Cosmico’ feels different from the other; each picture evoking something different from the imagination. It’s hard to find a track not to like here.

Clocking in at 56 minutes, Primitives doesn’t overstay its welcome by overreaching yet it shows that Bayonne has more tricks up his sleeve, which he should easily be able to demonstrate in his live shows.

This timeless and fascinating collection takes you on an unparalleled sonic journey that represents the brilliance, emotional connection and enduring legacy of the band that can be found in abundance both on record and the live stage.

‘Song For Our Daughter’ is a powerful and resounding success, and re-affirms Marling’s position as one of our most important feminist songwriters.

Listening to ‘No Gods No Masters’ feels like listening to Garbage again for the very first time, which is a terrifically thrilling prospect.

Fabulously varied, at times unashamedly extravagant and with a consistently joyous urgency, 2013 may be a historical document but it points to a very bright future.

A gigantic album.