Shout it from the rooftops though--with this record, Broken Records could well have a contender for album of the year on their hands.

Channel Orange hasn't so much been crafted into being as grown from the passion of one man, an extension of the Frank Ocean psyche into audible form.

Both artists possess in spades the ability to make affecting, heavyweight emotional music. This emotional intensity and willingness to continuously explore the possibilities of sound (heavy or otherwise) is what May Our Chambers Be Full pivots around over the course of these seven incredible songs.

This is a beautiful album, a lovely complement to the best of the Penguin Cafe Orchestra and a strong statement on the part of the new generation, reaching greater emotional depths and expanding the structures impressively. The penguin isn’t out of its comfort zone after all.

Though scattershot emotional mayhem, this album is a resounding triumph.

It possesses that raw energy that was present in two other exciting debuts, Is This It? by The Strokes and Definitely Maybe by Oasis.

It is perhaps better as it is, providing the soundtrack to the lives and stories of those who hear it, and with any luck, this is an album that will find its way to everyone.

The feelings of isolation that Lanegan has channeled into his music and lyrics are beautifully served by the influences that he’s using, and the result is an album that feels both current and historical. Most importantly, it’s another absolute masterclass crammed with songs that drill their way into your head and stay there.

It feels like the deepest and most soulful album she has made.

Yet by the time the final notes of the acoustic closer I Wish I Were Here have faded away, then you're more than convinced that this is yet another triumph for the Wainwright family.

Hadsel finds Condon reinvigorated and replenished, confirming his status as a talented conveyor and instigator of emotions able to deliver consistently beautiful music regardless of the source.

With Body Talk Pt 1 she's ready to finally take her place at pop's top table of greats. For once, the sequel can't some soon enough.

It is a record that's hard to place, hard to shake and easier to love than you could ever have conceived.

Paradigmes is an album that, whilst recalling a concession of progenitors, has no modern-day comparison.

By creating a world so comic-book vivid, each track stands and walks in its own desolate, saturnine world. But it's a world where the dead want to be alive and the alive would rather be dead. The creation of warped minds, Salem just made a monster.

Frankly, Say Yes To Love is absolutely stunning--a blistering mission statement from a band with undoubtable promise and inextinguishable fire.

Bright Future consolidates the view that Lenker is now one of the most distinctive and powerful voices of her generation and these new songs will only deepen the intensity with which her music is received.

Manson has given his audience a collection of tracks that are stronger, tougher and better than they have any right to be. His ascendance led to the death of the original rock era, but his music is more vital and creative than ever. A stunning work.

Call it the fascinating intersection of jazz, lounge, prog and electro, if you must, but ultimately Tortoise produce music of the most valuable and enduring kind--beyond genres and labels, in a category all of its own.

Bold, bizarre, brazen and beguiling, Madame X is Madonna living her Latin American Life. Brilliant.

Pretentious? Undoubtedly. Overblown? Yes, of course it is, but we expected nothing less.

Local Natives have made a stunning debut, feeling simultaneously familiar and challenging, and presenting a sweeping collection of tracks that are at once cinematic and sonically lush, swelling and serene.

There's going to be a coronation very soon, and anyone who cares to invest will be handsomely rewarded by the future king.

Tomorrow, In A Year provides a complex view of The Knife as unmatched in their daring, their music quite defying categorisation as one species or another.

With only the intriguingly named Snake Oil providing somewhat of an average, doomy, Kasabian type entry in an otherwise exemplary set of songs, Foals have produced yet another outstanding must-have album.

Shields is full of both genuine surprises and moments of transcendent beauty.

Daughters have provided a soundtrack to satisfy our ghoulish intrigue with a rare beast that is both thrilling and wholly singular. Yet, however darkly disturbing You Won’t Get What You Want is at times, its matchless quality elicits awe and wonder, and strangely, that brilliance provides a surprising and curious warmth.

Cover albums can be forgettable and throwaway, but not this one. This is a truly memorable and worthwhile tribute to the quiet Beatle.

The integration of beats, synths, strings and piano offers an uninterrupted, textured suite that is as assured as it is enveloping.

The strutting No Consequences and the triumphant closing number of Mon Amour end the album on a high, and surely ensure Superbloom’s status as one of the albums of the year.

For now, Shelter is a phenomenal start along a new path.

There’s not one dud track on it, and each listen unveils something new to hear. Most pleasingly though, in these dark times, is that it’s a whole heap of fun. 2018 may be only a few months old, but we may have its album of the year already.

Their back catalogue is a stunning body of work and arguably each track deserves its own review.

Tiger Blood is the sound of an artist improving on her already high standards.

It’s their best album in years – maybe since The Seldom Seen Kid – and one of those records that will throw up new little surprises on each listen many months from now. Not only one of our most consistent bands, but also one of our most surprising – the national treasure status is well earned.

Disjointed, hyperactive, experimental, whatever. Angles is the album to beat this year.

It all adds up to Stern's most fully realised, most rounded album yet, and a huge step in her evolution as an artist.

Darlings is a record that feels simultaneously cerebral and carnal--and things don’t get much sexier than that.

The album is so intricate, rich and multilayered that it’s difficult to do justice to its overall sound.

El Pintor is sleek, minimalist and brilliantly realised, and is the band’s best work since Antics.

Seeking New Gods is simultaneously thought provoking, questioning, elegant and unsettled – but it is fundamentally a feelgood album. We find Gruff Rhys at his most natural, his winning blend of a slight, endearing shyness balanced by extrovert, psychedelic tendencies.

This is completely cohesive, despite the range of styles; relentlessly engaging, despite the range of moods; and utterly enthralling throughout.

It’s rare to hear a debut album so confident and accomplished, especially when the artist himself has just turned 20 years old. Yet Psychodrama is pretty close to a masterpiece and raises the bar for a new standard in British rap.

The nine songs gathered on her third record beautifully convey heartache, loss and desolation. It’s not just in the songwriting--although, that is, of course, wonderful. It’s also in the production.

Run The Jewels 2 is one of the best albums of the year.

Overall, Pearson has produced an album with very few weak spots. It’s a record that takes the strengths of Return and builds on them, resulting in a work that, from the very first listen, you know you’ll be going back to again and again.

Fetch The Bolt Cutters isn’t the easiest album to listen to – and in these claustrophobic lockdown times, some may baulk at spending 51 minutes with an album of this intensity. Yet while it’s certainly not an album for background listening, those who are willing to invest some time in it will be rewarded by one of the most remarkable records released this year.

For now, this is an album that establishes Foals as one of the most exciting and driven bands of the generation.

At times, there seems to be almost too much to process in Nikki Nack, and it’s true that this is certainly an album that repays multiple listens and complete immersion. That immersion will pay dividends, for Merrill Garbus has produced yet another deftly thrilling listen.

The Notwist is an apt example of a band that is making good music for no other reason than because making music is what they love to do, which Close To The Glass demonstrates in spades.​

It is a hugely impressive piece of work, and subsequent listens will reveal further layers and melodies you missed first time around. Don't delay the induction a minute longer.

This album shows that there’s plenty of life in this band yet, and they’re changing and developing whilst also addressing the past. But most importantly, they’re still creating interesting, vital albums.

A 1000 Times is an opening track as startling as it is oddly timeless, and if, when it debuted in July, it promised great things of this pairing, the resulting album certainly delivers.

An album which could well be one of the best released this year – and, in its pleas for solidarity and acceptance, one of the most important and vital records as well.

Black Tambourine have finally gotten the treatment they deserve. This is essential listening for anyone who wonders where indie-rock's been, or where it's going. The influence is obvious, and the music has never sounded better.

With every album she releases, Angel Olsen seems to step up a gear. As My Woman will comfortably be seen as one of the best albums of the year come December, it’s a head-spinningly exciting prospect to think where she’s going to go next time around.

An unknown quantity to me before the first listen, by the third play I was already plotting which of my friends I would be lending it to and reprimanding myself for not having come across them sooner.

It never once drags or feels like a chore to listen to, for she pulls you in and keeps you enthralled for the duration. She does this across the entire album.

It's a mightily impressive achievement.

The pedal steel guitar playing on the whole record is breathtaking.

Lovelorn, honest, poignant and emotional in the best way imaginable.

Schneider’s assessment of the impact of digital advances, while pessimistic, is not without nuance. ... Schneider is capable of breathtaking beauty as a writer – unafraid of exploring direct melodic communication and stirring arrangements. There is also plenty of subtlety and nuance in her writing, so this communicates honesty and sincerity more than earnestness.

Particularly impressive is that the music never feels incoherent or thrown together. The band always, somehow, emerge with a compelling and coherent voice, albeit a strange and often dark one.

International is the trio’s ideal signing off point. It is both uplifting and reflective, leaving the contrasting emotions of a lump in the throat and a smile on the face. Everything they’ve ever done, in a nutshell.

Yeezus is a divisive album, one that contains some of West’s most inspired samples, collaborations, and racial observations to date while at times being insufferably misogynistic and confoundingly lyrically lazy.

Seeds is destined to grow and grow. Exhilarating stuff.

Highly accomplished, elegantly performed, wonderfully sung, this is an album by a master craftsman using his keen ear to create something beautiful. The man has never missed.

Such a musical melting pot can easily turn into something inaccessible and lifeless, but that’s never the case here. Skill, knowledge and passion clearly inform what this band do, but what comes across most strongly is a sense of joy, and that makes it difficult to feel anything other than wholly engaged as a listener.

In 1000 Forms Of Fear, we have what is probably Sia’s finest body of work.

The fact that he can produce an album like Bad As Me, with more energy, invention and sheer excitement that artists half his age stands as testimony that Tom Waits remains one of the true giants of music.

By the time the album’s 54 minutes have drawn to a close, you feel exhausted but in the best possible way.

Essex Honey is essentially a series of sketches, put out into the world before they could be framed. Yet therein lies its beauty, stemming from the bravery of Dev Hynes in sharing such bare thoughts and sadness with the world.

Aforger is one of 2016’s most impressive albums and will most likely be seen as key in years to come when looking at Douglas Dare’s development as an artist.

It’s an album that sums up Bowie as an artist--restless, audacious, constantly looking forward to the next new idea. January may only be a week old, but that ‘Best Of 2016’ list already has a slot filled.

This album of covers brims with intensely organic and engaging moments, breathing new life into songs that could've just hung out like tired old windbags.

Because you’re ready for The Things We Think We’re Missing. It’s yet another one of those albums you didn’t know how badly you needed.

Crack The Skye is a monolithic achievement from a band that never compromises in terms of vision or style. It's easily the best metal album of the last 10 years.

WIXIW is a wonder of an album of endless layers and contrasts to get caught up and lost in.

The Liberty Of Norton Folgate may just be the best thing they have ever recorded.

What is arguably Joanna Newsom’s most consistently outstanding record to date.

What is most startling... is the amount of emotional depth that Turner's injected into his songs here.

Their incongruence makes neither any less brilliant. So powerful is its imagery, and so timeless is its presentation, Lisbon is sure to join High Violet on any shortlist of the most memorable albums of 2010.

Transforming states and changing perspectives are once again the order of the day. Modern Kosmology marks another triumphant evolution.

We Were Made Of Prey is an intense, haunting listen – it may not be the place to come to if you want an album of singalong tunes, but the raw emotion that Joseph and Campbell can conjure up is something to behold.

This is as compelling and coherent a collection as they have ever made. It’s a record that you can delve deep into and really inhabit; everything’s in its right place.

It’s as good a debut as you could hope to hear, a fresh injection of pure brilliance and beauty to a genre that is creaking under the weight of mediocrity and a lack of adventurous inventiveness.

As an exercise in maintaining artistic form, it's an indisputable success.

In short, it’s classic Eluvium and caps another special album, one that sparkles, soothes, and confirms him to be at the height of his creative powers.

Plastic Anniversary is yet another masterwork by a duo that have been on the top of their game for longer than some producers have been alive, and long may their reign over sample-driven electronica continue.

It’s a marvellously un-sobering boisterous beast of a record, and a sparkling début.

It may be nearly 35 years since The Charlatans signed to Beggars Banquet, but for sheer scope and invention, Tim Burgess knows no bounds.

Lie Down In The Light is the sound of a musician at ease, quietly and calming experimenting with his sound and subsequently coming up with his finest work to date.

Wasted Years features another 16 blasters to add to your ‘essential punk’ playlist.

While there are certainly all manner of influences on KOMPROMAT, this is an album of considerable depth and intellect that rewards careful investigation, and a well timed return from a band at the top of their game.

The Randy Newman Songbook Vol 2 is an invigorating celebration of the power of music, and a delicate declaration of the power of one man and his piano.

At the grand age of 72, he’s grown into his voice and can sing with conviction and honesty, but not at the expense of youthful venom.

It may not quite be the equal of records like Exile On Main Street or Let It Bleed (very few are, to be fair), but if Hackney Diamonds really is to be the final Rolling Stones album, it’s one incredible swansong.