Despite coming from the same body that houses a personality so unbelievably erratic and off-the-wall in the best possible way, 25 is as straight-down-the-line ‘Adele album’ as it gets.

Kill The One You Love is a record built around hope, and around finding the optimism in fatalism, and the inevitable freedom that comes with such a discovery. As such, it feels much less a debut, and far more an aphorism from the mouths of a band wise beyond their years.

Aside from the brutal norm its twenty, overwhelming tracks follow, Mutant is also capable of digging up gold.

It’s a record bound in frustration and release, exacerbated by the band’s continuing reliance on repetition, and as it comes to roost with the tense ‘Bite Mark’ and its tumbling conclusion TRAAMS’ return shows itself to be one that’s all the better for its slow build.

Part folk, part neo-classical, part metal; The Miraculous could easily be pigeonholed as a gothic record--and sure, there are definitely elements of that.

Lanterns on the Lake are making rock music that, in terms of how vital it feels in 2015, is virtually without equal. Beings just about confirms that.

While things may start to sag towards the end as the wind in King Gizzard’s new sails dips low, Paper Maché Dream Balloon is undoubtedly one of their more confident statements yet.

He may not be in our world completely yet but you should keep making the trip to his: it really is a trip.

In this bubbling cauldron that refuses to be contained, Asher finds the liberation he’s been searching for.

It’s impossible to resist the instant, limb-grabbing appeal of the pop music Grimes is making here, and dizzyingly big, this is a record about shaking off every constraint, and wrenching hold of reality with both fists.

Sonically, it does what it sets out to do, delivering on the playful, biting riffs, singalong moments and charming, scrappy harmonies that accompany one big swell of emotion after the next.

Comparisons are all well and good, but ultimately Making Time’s strength is in asserting exactly what Woon specialises in. After so many years away, a reminder was much needed.

This is intelligent dance music (with no capital letters)--clever and warm, sophisticated and joy

Wiped Out! is a fine wine in a sea of vodka Red Bulls, and having successfully mixed pop, rock and hip-hop together, it seems like they have finally defined their sound as a band.

Bleeds bends and twists genres into more combinations than are possible on a Rubix cube; splicing hip-hop, techno and even classical in ways that make it one of the most original and emotionally charged British albums of the year.

These songs might be the result of time spent in-between projects, but they are no b-sides, and they show a bigger, more cinematic side to Courtney’s songwriting that not only provides solitude in its glistening nostalgia, but conjures excitement for his projects to come.

Courting The Squall touches and recaps on the ideas which Guy Garvey masters in his romanticisms and balladry, but gloriously glimpses his experimental and playful side.

By playing it too safe, Animal Nature isn’t worth recommending. It’s just sort of fine and that won’t cut it.

Never sitting still or dwelling on their influences for too long, the third incarnation of Cheatahs in 2015 have harnessed the hyperactivity of their release schedule, channelling it into a collection of tracks that houses some of their strongest moments to date.

The Philadelphia quartet’s appeal is built on an earnestness and an honesty that leaks from every sweat-channelling pore of The Things We Do To Find People Who Feel Like Us.

If kept short and sweet, Temple would have made a charmingly laconic record that blossomed in unconventionality, yet sadly here is muddled in his expansive means.

Pray For Rain is a sophisticated progression for Pure Bathing Culture. Despite brief drizzly moments, on the whole the album evokes the warmth of drying off after a torrential downpour.

When they get past their demons, Half Moon Run sit somewhere between accomplished musicians and potential game-changers. Too often they settle into a default mode, rarely hitting the melodic highs of ‘It Works Itself Out’ or the enraged bruiser ‘Consider Yourself’.

She takes a bold, explorative leap into the centre of her own mind.

They’re untouchable in one sense, but they don’t look to be building on more than solid foundations. Threading together moments of true beauty is a nagging sense that there’s so much of this parallel universe they’ve yet to explore.

Real Lies’ debut effort instead puts forward a group who’ve clearly agonised over every detail of their early ‘90s aesthetic, and forgotten about the songs in the process.

EL VY could have been many things for Matt Berninger--in the end his first non-National album serves to take him away from firm rooting in gloom to a certain extent, but largely just exhibits him doing everything he does so well, just with a few tweaks and exceptions.

A listen that encourages looking inwards and coming to the kind of realisations Welsh himself has poured into the album, a record it’s impossible not to be swept up by.