Joy’All is possibly Lewis’ best solo work to date – the sound of a woman fearlessly grappling with middle-age and dealing with all it has to throw at her.

Sometimes it sounds bleak, sometimes it sounds glorious, but it’s in embracing the full gamut of life experience, as Zola Jesus does here that nothing becomes everything. The shackles might still be on, but this is the sound of an artist reveling in freedom.

Generally it seems Dizzee fares better when bouncing off others’ contributions. This makes E3 AF a step in the right direction, and while it doesn’t quite display the finesse of his first three albums it’s a welcome trip down memory lane.

Castle Talk is their Born To Run, scrappy and brimming with flashes of greatness; it's the album that could very well launch them into a lasting place in the indie rock canon.

The summery feel and gloriously messy pop sensibility are at times great fun, but with something that is so derivative, it is hard to get too carried away without getting an urge to switch this album off and dig out the originals.

Dancing is certainly Nancy Elizabeth’s best work to date.

DJ Rashad indulges in his own tastes and viewpoints, ultimately creating an album’s worth of songs that are exciting on their own but exhausting and at times dull when listened to from start to finish.

This is an album that incorporates a cornucopia of musical styles and weaves them together perfectly to create a cohesive and quite elegant whole.

Novelist Guy remains a very promising debut from a young artist who has already placed himself at the forefront of grime’s equally promising future.

The two albums she released under the Saltland name may have established her credentials as a composer in her own right but Waxing Moon feels a more personal, considered release that should give her the confidence to explore and develop her sound further.

As ever with Marshall’s covers project, it’s a mixed bag, but there’s more than enough here to keep Cat Power fans satisfied until her next album of original material comes along.

His craft here does have more to do with storytelling than it does with music making, but these haunting, desolate narratives are very much complemented by the lo-fi, repetitive, yet meditative backing tracks, which are ultimately presented like the lost soundtrack to a movie.

The last few records have seen them experimenting successfully with dashes of vivid colour, spinning bass lines towards the dubby area of the spectrum and enjoying a laugh at theirs and others’ expense. Wheeltappers & Shunters continues the trend, with music of colour, mixing its cold shivers with moments of unexpected charm.

One Life Stand feels English in the best possible sense: it's cosmopolitan, unassuming and ever-so-slightly eccentric.

As an album No Treasure But Hope feels both familiar yet also a development. Emotional density to the lyrics pairs admirably with passionate, compelling music, and it’s varied enough to encourage engagement from beginning to end.

It's much less forthright and immediate than Inverted or Chutes, but it succeeds in spinning a web that draws you in; once caught you just want to lie back and absorb its gentle bounce.

As usual there’s a lot of depth here and over time, more and more will be revealed. Glass Boys might not be as expansive as its predecessor, but it is no less impressive.

Sukierae is a distinctive work, and it gradually reveals itself to be enthralling.

How they pack so much emotion and feel into so little is nothing short of magical. Their previous bands might have dazzled with sheen and noise, but Until The Hunter impresses with the bare minimum from start to finish.

Over the past decade Ghostpoet has crafted his own niche, one in which dramatic instrumentation is paired with his inimitable drawl, and this record further solidifies the style that he’s known for, albeit with a few missteps along the way.

Years Of Refusal is Morrissey on top form.

Essentially, Commontime is business as usual for Field Music. If anything the mood is distinctly upbeat this time.

This is gorgeous record that starts great and gets better with each additional hearing.

More bare structurally, musically and emotionally than its predecessor, yet by the same token, fuller and more alive, it is an amazing work that showcases a phenomenal talent and a unique voice.

It's an accomplished debut album that lays the foundations for a very bright future.

Their debut self-titled LP is one that is puzzling, slightly strange, sometimes irresistible and a bit frustrating.

It’s unlikely that this album will achieve legendary status but there are more than enough signs here to suggest something massive might be around the corner.

It’s a testament to Broderick’s talent that even on an endlessly intriguing and clever record like this, he can still play straight to the heart.

The muted, lo-fi quasi-psychedelia of his early work has largely been replaced by mellow, contented songs and while it may take a couple of plays to fully establish itself it’s very much worth investing time in. Sonically, it has a notable consistency and poise with the quirkiness of his early albums now having given way to more conventional approaches.

It is the best album start-to-finish from Hot Chip, one that continues to show their deft range--from infectious disco hits to soulful ballads.

While it may be a tremendously personal album for Barwick, you can get lost in Nepenthe for not only its sheer beauty, but for its ability to evoke visual cues and tell stories with its music.

Don’t Weigh Down The Light certainly rewards repeated listening.

Strawberry Jam doesn't promise to be something for everyone, but it will certainly please those with an ear for the strange and surreal--even if you will have to sleep with your light on.

Popular Songs may not quite scale the same heights as those found on "I Am Not Afraid Of You..." or "I Can Hear The Heart Beating As One." It is, however, another really good album by Yo La Tengo.

There’s a sprightliness and a captivating agility present throughout this album, even in its more reflective and graceful moments.

Essentially, there’s enough good stuff here to suggest Pixx--cool, intelligent, subversive--remains a talent worth watching. And you can’t learn that anywhere.

Things Take Time, Take Time is a tender, comforting salve of a listen, and will be one of those albums that you keep returning to when life seems a bit too much.

It’s credit to her that within the congested realm of electronic music her record stands proudly distinct, as it is both danceable and meditative music with genuine heart. And with that Kelly Lee Owens has made a more than promising debut.

Rooted in the past this album may be, but it has genuine moments of original inspiration, both musically and lyrically, and a scope of ambition most bands would be scared to try out.

What impresses most is the flowing musicality, the invention, the subtlety of many of the effects.

Ultimately, We Were Here is another strong return from Turin Brakes, one that doesn’t stray far from their acoustic niceties, but one that also seeks out a natural progression.

Lost Domain acts as both a lovely tribute to Wheeler’s father, and further confirmation of his talent as a songwriter.

As debuts go, it’s not on the same level as their mates Wolf Alice, but it is a compelling listen and a worthy addition to any burgeoning music library.

Midnight Concessions is another reliably compelling missive from a rare talent.

Home Counties is Saint Etienne at their very best, blending breezy observations and harmonies with a deep seated emotion, centred around the need for a place to call home. In these uncertain times, a blast of hot sunshine and a listen to this record certainly make the world a better place to be.

We have an album that diversifies Jepsen’s sound in intriguing ways, while sounding a bit rough around the edges at times.

A fair criticism might be that Let’s Turn It Into Sound is a little formless, reliant on the novelty of whizzing sounds and pomp-filled arrangements, but in the hands of Aurelia Smith these certainly have the capacity to amaze and astound.

The Collective may have broken up, reformed and been on the comeback trail for the last 18 months or so, but it is heartening to see that they are still putting out material as strong as this, and are still capable of being an off-centre, welcome and relevant voice in 21st century hip-hop

This is a record built on the dependable building blocks of guitar, bass and drums, albeit arranged and (presumably) Pro-Tooled into exciting, original new formations.

On Dark Days + Canapés, the sense of darkness becomes a bit wearisome. Yet, come the end of the year, this will no doubt be held up as one of the albums that held a mirror to its times. It also confirms Ejimiwe as one of this country’s most vital voices.

It’s an album that screams out for an editor, but when it hits the right notes, it demonstrates just why Taylor Swift is one of the biggest pop stars in the world.

Sega’s production is consistently impressive, whether it’s the seasick bass on Elk Skin’s glitchy hook, True’s baroque chord sequence or the pumping trancey arrangement of Dirt. He is a better producer than a songwriter however, and some of the less musically eventful .tracks test the patience.

Rarely Do I Dream is another beautiful album from Powers, which seems to be a constant, no matter what name he chooses to record his music under. It manages to sound both nostalgic and contemporary, full of songs that evoke the warm glow of childhood, but with a creeping menace never too far away.

This is an impeccable record from an incredible songwriter.

This is a remarkable debut that fairly sizzles with confidence and attitude.

Ultimately, Mothers feels like a stepping stone to bigger and better things for Swim Deep.

Two decades on, Formentera sees the band still going from strength to strength, evolving their sound as time goes on, while retaining all the elements which make them such an enjoyable listen.

Waxahatchee’s second album is one to immerse yourself in, to lose yourself in and generally marvel at the raw emotion that’s so beautifully expressed.

Basically, it’s a fantastic debut.

While Ghostpoet will never be considered an easily accessible artist, this is the enigmatic follow up we’d hardly dared hope for.

An artist at the top of his game, with the newfound artistic freedom that Konnichiwa granted him but the energy of still having something to prove. It also confirms the 2010s grime revival as being more than a passing trend, and on this basis it’s stronger than ever.

At just 36 minutes, Every Loser never outstays its welcome – instead, it’s a short, sharp blast of energy that sounds impossibly refreshing.

Island Of Noise is set to be a sustainable release, with some intoxicating visual art, thoughtfully sourced and sensitively delivered. This attention to detail runs through the pores of the music, giving the repeat listener something new to discover with each visit but, like the peacock butterfly, making a strong first impression too.

In its creation of something towering from fundamental, basic elements, it is alchemical.

She has delivered her most soothing and assuaging set of songs to date, music to help re-establish personal harmony and emotional equilibrium.

There’s not much on here that comes close in quality to either of Grant’s solo albums--like a fine wine, he’s become better and better as he’s aged. Yet there are some hints of his early promise on this compilation.

Alabama 3 are at their best when they let go, embrace the fact that they’ve successfully sustained their eclectic sound and bizarre personas for over 20 years, and lose themselves to their own warped version of the blues.

Ignore the occasionally terrible lyrics (rhyming artist with “fartist” for example) and The Painful Truth contains some of their most heartfelt work.

Silver Bleeds The Black Sun… is not just the next entry in their incredible evolutionary cycle, it genuinely feels like the culmination of what the band have been trying to do for over a decade.

Generally there's not too much straying away from the Nashville sound and Wagner's production keeps things sounding impressively full and remarkably fresh considering the age of the source material.

Despite the unsettling nature of Abyss as a whole, it’s a work that is strangely comforting once its charms are fully submitted to.

Because Of The Times is Kings Of Leon's best album yet, their most fully realised and mature work to date.

For all its challenges and provocations, Garden Of Delete may actually be more inclusive and open than it first appears. It might be that its moments of hope and beauty (Lift) linger longer in the mind than its very varied assaults.

As an EP taster, Mount Wittenberg Orca would have been great, but by positioning itself as the finished article, one is left with the sense of an incomplete journey and a wasted opportunity.

Django Django’s style is well-worn by now, and a little more stylistic or structural invention wouldn’t go amiss, but Glowing In The Dark still delivers the goods with ease.

This is about as close to perfection as a soundtrack can ever hope to get - perfectly capturing the emotional grit of Danny Boyle's onscreen drama, while successfully evoking a very Indian atmosphere for a very Western audience.

On Accelerate R.E.M. sound like men less than half their age, ripping through 11 songs in a mere 35 minutes that contains great chunks of just about everything that made them the biggest band in world back in the 1990s.

At just 34 minutes, Could It Be Different? rarely takes a breath, propelling us forward, dancing and laughing, towards whatever comes next.

The result is a debut full-length that energises, empathises and excites with every step of the way.

What is surely one of the year’s most frustrating releases.

There’s more than enough here to establish Ryder-Jones as a serious solo artist--all it needs is one more notch on the self-confidence dial, and that potential could translate into astounding results.

Its youthful sense of noise and joy and wonder are heartening, its way with a tune addictive. Would that all summers were as warm, as happy and as big-hearted as this music.

Whilst it obviously won’t be eligible for the Mercury Music Prize on the basis of nationality, this compelling, rigorous and often beautiful work ought to receive the same level of attention as Jessie Ware’s debut.

They are not evidence of a group wallowing in their own experimental pretentiousness. They are the finishing touches on an already admirable piece of work.

Chant Darling is an album that won't leave a massive impression on first listen, but there's a definite charm that keeps you coming back for more.

It's an album that is truly surprising. It's clever enough with the homages to properly capture the spirit of the period they are referencing, but smart enough to not ever just pastiche it.

Caustic Love is the sound of Nutini finally finding his groove and producing a record that lives up to his talent.

Expect The Best is the most akin to Mazzy Star so far.

It makes for a decent companion record to Fear Of The Dawn but also works perfectly well as a standalone album in its own right. Two decades on, Jack White’s creative fire shows no sign of dimming.

An album for repeated plays, this is an exhilarating, bittersweet addition to the Joyce Manor canon that easily stands alongside their best work.

Another Iron & Wine album that consolidates Beam’s reputation as a songwriter of distinction.

Grant’s lyrics have always been striking, often highly emotive and confessional, but also frequently designed to raise more than a few eyebrows. Here, there are moments where he is more cutting, and more sleazy than ever.

What it may lack in cohesion, it more than makes up for in adventure and it is certainly one hell of a captivating ride.

Scout Niblett is an acquired taste, but so many of the best things - olives, anchovies, nipple clamping - are. And if you have ever been tempted to acquire a taste for Niblett, The Calcination..., along with This Fool..., would be a good place to start.

A Swedish Love Story is, from one end to the other, a completely enjoyable slice of violin-driven pop perfection. But its brevity means that the listener is slapped in the face with reality all too quickly, like being awoken from a dream just as you were getting to the really good part.

Blu Wave sounds absolutely steeped in sadness – it’s full of pedal steel guitar, luscious string arrangements and Lyttle’s fragile vocals. It is, in a word, beautiful.

It showcases Bradley’s strongest talents, and is just as good as any of the records he released when he was alive.

This is, therefore, a searing, no holds barred album, uncompromising in its delivery and unstinting in its musical language.