It would be hard to find an album to compete with theirs in regards of modernism or creativeness.

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.

Somebody’s Knocking sees the former Screaming Trees frontman continue his foray into electronica, subtly blending ice-cool synths with dirgey guitars and doom-laden imagery to reveal a love of ‘80s English alt-rock. ... Welcome back.

LAHS is the sound of a band in transition. A record where the sunshine is too few and far between. They’ll surely be back on track before long, but for now, we’re going to have to look elsewhere for that aural vitamin D.

While the album is as subtle as a brick to the face, there is an impressive mix of styles represented on the band’s third outing, making this their most versatile listen.

It’s a record that makes incisions into the staid, one that knocks over the steadfast; it’s a bold, thrilling construction, one that pushes her history to one side in order to build anew.

It’s a slow burner - a passable Twin Peaks album that could, with time, become a great Twin Peaks album, but as of now, we haven’t quite gotten there yet.

With Closer to Grey, the group have created a near-perfect piece of 21st century pop escapism. So, the next time world’s weighing you down, you know what to do. Reach for your turntable. Chromatics have got your back.

Off-kilter energy, and their trademark honesty abound, LIFE - who received accolades such an ‘Album Of The Year’ listing from BBC Radio 1- prove with their second album that they are a quality band capable of making stand-out records more than once.

A raw, primitive nod to the planet we inhabit and our connection to it.

Carnage Hall is an album that bristles with clever ideas, memorable sing-a-longs, ‘Highlight’, ‘Drinking Problems Continue’ and ‘Accordion’, whilst reminding you of all the best bits from Devo, Trust Fund, The Rezillos and why you feel in love with those bands in the first place.

It brings the friendly, familiar sound of a bygone time without begging for the clocks to veer into reverse, and clings to ‘90s noise-pop with the gentlest possible grip. It’s a show of strength too, proving the resilience of the band.

Ghosteen is not a blissful or comfortable album, but it is a hopeful one. The gaping wound of ‘Skeleton Tree’ is scarring over as Cave pulls away from the past’s savage undertow, content in the knowledge that peace will come. It’s a paean to how all things bright and beautiful can be thrown into blinding relief once you’ve known real darkness, another open letter straight from artist to audience that cuts right to the core of what means to have loved, lost and loved again.

Heavily indebted to ‘90s indie pop but never boringly reverential - it’s the sound of a band mining the past into a vibrant future.

While ‘Leaving for Japan’ is a beautiful, delicate song with something of the Twin Peaks theme, ‘Don’t Follow Me’ and ‘Push On’ show, dal Forno is just as adept at creating drama from sparsely layered atmospherics and a forceful beat.

uknowhatimsayin succeeds in flipping our expectations of a Danny Brown album, delivering a project that’s masterfully produced and exquisitely executed.

All Mirrors is a record that is so intuitive and interior, that it feels it could be difficult to penetrate - but it’s one hell of a prize if you give it the chance.

Stars Are The Light is an aural journey, one which forces the listener to reconnect, or at least reconsider, their relationship with nature. In doing so, it encourages individuality and challenges one to break-up with the conventions of modern life.

A stunning effort all-around, it is a pleasure to have Temples back, the prospect of where they can go from here is one of excitement and thrill.

Turn to Clear View, takes everything that made ‘Starting Today’ playful and fun while ramping up the captivating melodies, and guest spots, to create something that feels like an instant classic.

It’s a beautifully assembled package. ... Funny then that this collection should contain so much life, from an album restored to splendour, to a night of joyful inebriation and creativity with a showbiz pal, to a ferocious performance in front of adoring fans. ...‘Dead Man’s Pop’ is the perfect tribute.

'Air Con Eden' is an album that knows what it is: a story. Although it may be a surrealist story, something difficult to penetrate, it’s a delicate and genuine debut, filled with warbled and gentle soundscapes.

Through turns wholly strange and ambiguous, it’s often unclear where the breadcrumb trail of 'House Of Sugar' is leading us, but it’s a mind-bending trip worth taking nonetheless.

‘Jaime’ is arguably Howard’s most important work to date spiritually, let alone critically. Named in memoriam of the beloved sister she lost to cancer when both were in their teens, the album is a sonic sucking of the poison from the wounds of life, and the regeneration of the artist thereafter.

Primal, raw and unformed - and ultimately not an album for the faint-hearted - its lyrical content alternates between the absurd and the everyday.

This is a joyous, unique and tender album.

Elegant, understated, Chastity Belt is the sound of a band matured, and it’s all the better for it.

Over its twelve tracks, the listener is taken down the proverbial rabbit hole as Grzegorz Kwiatkowski's hypnotic and repetitive lyrical attack lulls you along. This isn't an album that grabs you by the collar, but rather builds tension and release as it lures you through the dark thickets of your mind.