It’s an assured, charismatic release with a consistency that sets her above her contemporaries.

Compared to Big Conspiracy 3 years prior, Beautiful And Brutal Yard displays more ambition and an admirable desire to experiment, resulting in both career-defining moments and unfortunate missteps.

Overall, The Ballad of Darren is a captivating sonic journey that goes to great lengths to ignore much of Blur’s rich legacy, but it shows that bands – even those long in the tooth – can still continue their musical growth without sacrificing quality.

Over the course of a full album, Potter’s vocals sometimes veer towards being a bit too mannered, and it’s true that some of the arrangements can feel a bit one-note at times. Yet, considering this is a debut album from an artist best known for a totally different medium, Pink Bikini is an often extraordinary change of direction for Sally Potter.

A career-best work that serves both as a tribute to and means of overcoming a life sadly gone.

A beautiful album from a talent very much on the rise.

It’s possibly an album that’s easier to admire than to enjoy, but you can’t fault his ambition.

The Penguin Cafe’s conviction that it will be fine before eleven is clear in this album. Its sunny musical disposition, vibrant rhythms and eloquent melodies make it their best since Arthur Jeffes revived the name.

This all feels like authentic Little Dragon, the album they have been threatening to make for years.

It’s undoubtedly a confounding and unorthodox piece of work, but its artistic integrity and single-mindedness still manages to ensure PJ Harvey somehow comes out of it with her reputation enhanced.

Messy has been given time to come to fruition, and that shows through every note. It’s a fine demonstration of Olivia Dean’s talent, and sounds every inch a marker of a long and successful career.

Although there are a couple of songs on this album which don’t set up camp in your memory, the vocals always astonish, from the sound of Jeff Buckley floating on a soul bisque on It Must Change to the greasy gospel crescendo of Rest.

Stories From A Rock N Roll Heart is a triumphant return, an uplifting listen and a valuable addition to her magnificent catalogue.

It’s a heavy, lugubrious listen in places but is also the sound of an artist pursuing their art with integrity and investing themselves fully, showing that, while adversity can at times feel all encompassing, there are ways to overcome and find resolution.

He remains an important figure in the rock scene, even if his albums play second fiddle to The Strokes’ material – and albums like this make it still more of a shame that that’s the case, for this is a winner.

While it’s sometimes a bit too unassuming for its own good, King Of A Land does well to remind the world of just what a legendary songwriter Yusuf/Cat Stevens is.

It may not be up there with Rumours or Blood On The Tracks, but given the emotion and heart poured into it, Chemistry is a more than decent break-up album.

Anyone who wants a nostalgia rush back to the Commotions days may be disappointed with On Pain, but for everyone else this is an effective indication of an artist steadily on his own path, and doing very well out of it.

Although she’s not quite there just yet, with a more stringent editor, and a producer who could get the best out of her (Max Martin would seem a lip-smacking prospect), Maisie Peters is undoubtedly on her way to producing a truly great pop album.

Although Yawning Abyss is a tad more conventional than Mr Dynamite, it’d be fair to assume Creep Show will remain an acquired taste for some. But for those who have no qualms about stepping into their sometimes oppressive, sometimes sleazy-sounding world, you may not want to step back.

Versions Of Us is an intense listen, dealing with weighty topics, yet thanks to the hooks running through most of these songs, it’s also their most accessible album to date. It’s taken a while, but Lanterns On The Lake may just be ready for the big time at long last.

Some might wish for more of the pounding drums and hellish vocals of old, others might hope for more of the experimental blasted patchwork of The Beggar Lover (Three), but the album succeeds best through its unwieldy, unmanageable length. They say Swans can break a man’s spirit with just two hours of unstinting grimness.

It’s not as front-to-back enjoyable as Rated R or Lullabies To Paralyze, and it’s not as thematically consistent as the Mark Ronson produced Villains. So it is their worst album. But it’s still the worst album by the greatest rock ‘n’ roll band in the world. Take it for what it is.

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.

There are catchy and effective tracks here, though also a niggling sense that she has turned her considerable talents towards sounding more like everybody else.

Átta is an album which demands to be listened to in its entirety, a 56 minute journey which ebbs and flows magnificently. It’s exactly what you’d expect from Sigur Rós, with a few surprises thrown in, and without doubt one of the more welcome comeback stories of the year.

Killer Mike has taken a meticulous approach to ensure MICHAEL paints a nuanced, vivid picture of him and his community, and the effect is inspiring.

At times, it seems to make more sense as a collection of EPs, as it sometimes doesn’t hang together as an album as coherently as it may do. Yet there’s still much to enjoy on this mammoth collection, and on tracks like Don’t Touch That Dial and Complete Me, Django Django have produced some of their best work to date.

A significant part of The Show’s appeal is down to Horan’s quiet charm – he always sounded far more convincing in his low-key guitar-based tunes than, for example, Liam Payne in his perplexing attempts at club bangers.

Undergrowth and The Blades showcase the band’s ability to juxtapose delicate melodies and introspective moments with bursts of raw energy, delivering a rich listening experience that defies expectations.

It might not be as cohesive as some of her earlier work but The Age Of Pleasure is still an album that bristles with energy and boldness.

Narratively cohesive and relatable, it is in celebration of where he comes from that ultimately makes Last Man Dancing the essential, repeatable work that it is.

It all stays just on the right side of self-indulgent, although like most albums consisting mainly of cover versions, there are peaks and troughs.

There’s no big anthem like Landed, and sometimes you do yearn to hear Folds properly hammering his piano like in his early solo days or during his time with Ben Folds Five.

Archangel Hill is another life-affirming encounter with a remarkable artist. Shirley Collins may be British folk music royalty, but this record once again shows her ability to communicate with her listeners as though they are the only people in the room.

An album with bangers like Drag [Crashed] is easily redeemed, however, and I’ve Seen A Way winds up being the most exciting debut in recent times, recommended for fans of the electronic and the industrial.

It’s a record that, the longer you live with it, the more its little subtleties make themselves clear. It builds on the strengths of Collapsed In Sunbeams and ends up creating an even more rounded album.

Although The Girl Is Crying In Her Latte might not be quite equal joyous recent peak Lil’ Beethoven, it’s impressive that, on their 26th album, Sparks are incorporating new sounds and concepts, whilst still sounding exactly like themselves.

Now might be a homely, undemanding listen in places but it’s also rewarding, a set of songs that will certainly appeal to long term fans but one that also deserves wider appreciation. It feels like a classic case of Nash making music for himself and if others enjoy it too, well that’s a bonus.

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.

Its author remains a restless creative spirit, but Paul Simon’s music feels as relevant now as it ever has done, his work reaching the very depths of the human soul.

Joan Of All isn’t an immediate album, and it’s probably not one to reach for a sugary pick-me-up either. Yet if you dedicate enough time to it, what emerges is a work of rare depth, craftsmanship and beauty.

Broken By Desire To Be Heavenly Sent generally plays it safe, assuming the schtick that’s got Capaldi this far has more mileage in it, which gives the album a competent, workmanlike air.

If this were the debut album of a new group it would be celebrated as a fantastic example of the visceral and cerebral pleasures of a singularly oppressive style of psychedelic metal. As with all of Jarmusch’s projects, it’s an acquired taste, but a powerful one.

It’s a record bursting with so much confidence and instantly likeable songs that it already sounds like a hit.

We are left with an album that has several great tracks, but whose filler and repetitive subject matter prevent the Jonas Brothers from realising their full-grown potential.

An album which is both fascinating and hard to listen to at times. Gag Order may not go down as Kesha’s best album, but it’s certainly the album that she has to make at this present time.

The album, when taken as a whole, is simply too much. When taken as individual pieces, it works much better – and there’s simply no reason for it to be this long.

A signature sound is all well and good, but in the future the duo would benefit from indulging their inventive side more.

Complex yet accessible, and best experienced when fully immersed in it. It’s possibly Braids’ best record since their debut Native Speaker – a record that reveals more delights the more times you listen to it.

Everything Harmony is the sound of two men taking nearly 50 year old references and reframing them for today. For a refreshing twist on a vintage sound, nobody does it more impressively than The Lemon Twigs.

The Love Invention wades into territory more mainstream than even Supernature, slotting merrily between Murphy’s recent output and Kylie Minogue‘s return to her Disco best, and succeeds very well in creating stylish, louche, mature bops. In so doing, it unquestionably establishes Alison Goldfrapp as a solo force.

There may not be anything hugely original to be found on Raving Ghost, but Olivia Jean has charisma by the bucketload, which makes this album such an enjoyable listen.

There are plenty of moments where the sheer brilliance of his musical intuition and technique are nothing short of breathtaking. It’s an album that deserves to find an audience beyond drum enthusiasts.

Although the songs on – never really rise above a mild trot, there’s still some musical variety.

The Rat Road does indeed become an accurate reflection of modern life, but it lifts far above the routine, providing an insightful and emotive soundtrack for many who cross its path.

Nathan Fake is technically skilled, and on tracks like Hawk his creative verve really shines, but some kinks could be ironed out on this rose-tinted trek.

Prism gives The Orb a youthful complexion, its heady brew of musical ambience, songwriting substance and sample-based humour bringing a hefty dose of positivity. Strongly recommended.

This is a remarkable album, even for an artist as consistently strong as Susanne Sundfør has been to date. It reaches into the centre of the human heart with primal connections that probe at its very existence. It is another striking addition to the discography of a singer who just keeps getting better and better.

Some may find the often austere arrangements off-putting, but this is an album which proves that Tiny Ruins are a band that can creep into your heart without you even noticing.

It’s an album that confirms the sound of an artist continuing to push forward, a unified expression of joy that is never anything but bold, playful and fun.

Stylistically Avalon Emerson was taking a risk on & The Charm, but with this engaging, surreal, infectious music it pays off massively.

Star Eater’s Delight is Neale’s best, and most accessible, work to date.

If you don’t pay attention, it’s harmless background fluff, yet if you concentrate there are mysteries and subtleties to discover that demand repeat listens.

The DJing skills are still there and the grooves hold together throughout, though there is rarely much of interest on top of them. ... There are also precisely eight bars in The Cards’ mid-section where the drums hit just right, before they’re replaced with yet more poorly-mixed elements. These moments are so few and far between, however, that it’s hard to justify the album’s raison d’être.

The melodic writing is good but not always as memorable as Daft Punk’s pop sensibilities would suggest. Yet there is much here to enjoy, and to suggest the next chapter in Thomas Bangalter’s career will see him flourish as an orchestral composer.

It is a cohesive musical statement in spite of its length. His first-hand experiences mean Okumu’s sonorous tones carry powerful messages, in what is one of his finest musical achievements to date.

As with every track on this perfectly crafted piece of work from one of the world’s most distinctive voices, it is really quite beautiful.

There are a couple of tracks that veer towards the forgettable, and the overall downbeat tempo of the album as a whole may test the patience of some listeners. ... Yet even on the less memorable songs, Merchant never sounds anything less than completely captivating.

72 Seasons is monstrously long – 77 minutes to be precise – but the bloated run time actually does it some favours, particularly as the band turn in some of their most creative work to date.

Some may find the relentlessly downbeat tone a bit hard to wade through, but it’s done with such a lightness of touch that it becomes almost uplifting. The journey to Leslie Feist’s sixth album may have been a long, eventful and sometimes troubled one, but the destination is as rewarding as ever.

We may not know the full detail behind each song but simply being drawn into her world and sharing in the healing process ensures Big Picture provides a cathartic experience that few other albums will match this year.

What Sremm 4 Life lacks in cohesion it makes up for in energy, the most exciting Sremmurd record since their debut.

This is an album full of club bangers – anyone who prefers the ballads like Love Me Like You Do and How Long Will I Love You may be disappointed. Fans of decent dance-pop anthems though will be more than satisfied.

It’s a warm, comforting hug of a record, a friend to reassure you that things are all okay, even when it feels like it’s all falling apart. The type of soundtrack we all need in times like this.

While the album’s more maximalist aesthetic may bring challenges for the casual listener, for those who commit it succeeds in being a cohesive and impactful listen.

Holden has created a life-affirming hour in the musical heavens, just as the title promises.

There are enough little twists, turns and embellishments on their trademark sound to ensure they’re still sounding fresh. Continue As A Guest is another reliable chapter in one of Canada’s most consistent bands.

It’s just as special as you’d expect.

While much of Memento Mori is thoughtful, and some of it visits the dark side, there is a great deal of positivity underpinning Depeche Mode’s work as a duo.

A bold, energetic collaborative record. ... If another project were on its way with a bit more polish and focus that would be ideal, as the two certainly have a madcap chemistry that deserves to be explored further.

Caroline Rose’s most personal album to date which, while it may not have the immediacy of Superstar or Loner it will, given time, prove just as emotionally affecting.

It all makes for a terrific comeback for a band that have been very much missed over the last few years. As truly entertaining as the title promises, in fact.

A leisurely 77 minutes of beautifully orchestrated ballads, electronic experimentation, spoken word interludes and callbacks to previous Del Rey songs. Like the vast majority of her previous albums, there’s almost too much to take in, but you have to admire the sheer bloody-mindedness to do things her own way.

Yves Tumor has drawn inspiration from all those moody vocals, watery guitars and blown-out mixes to create their best album yet. ... The increased connection of the internet is taking an already rich musical landscape towards its very own singularity, and when we get there it may sound a lot like Yves Tumor’s raw, surreal, multilayered tunes.

An album that quietly seeps into your consciousness, a collection of charming chamber pop confections that is impossible to resist.

As M83 Anthony Gonzalez makes you want to turn the volume up as loud as possible, filling the room with music and reaching for those other worlds and creatures. Fantasy, then, fuels our imagination – just at the time when musical escapism is sorely needed.

With Radical Romantics we see a distinct shift away from the idea of linear songs, and rapidly towards a 360 soundscape – all encompassing, visceral and beautifully overwhelming.

Although there’s some filler on Endless Summer Vacation – Wildcard and the rather flat closing piano ballad Wonder Woman fall into this category – it probably ends up as her most consistent album to date. This is one former teen idol who’s negotiating the path to a more adult audience just fine.

Only occasionally does the album threaten to go awry. ... This is smart, literate pop music that can tug at the heart as well as make you dance.

UGLY certainly isn’t a pleasant listen, and at various points it’s too extreme to be categorised as rap or rock, but many of these tracks are brilliantly executed and their emotional power and impact put Slowthai in a unique position.

Whilst the linguistic half of Sleaford Mods is developing in two very different directions, Andrew Fearn has turned in his most musically satisfying set of tracks to date.

Making a value judgement on Amelia is a tricky business, it being as immediate as undiluted Ribena. However, the album knows what it wants to do and pursues this with relentless efficiency.

Whichever stylistic avenue is being explored she successfully sculpts and shapes her music in a way that gives it a soft and organic feel.

Closing track Happy Now even dares to pick up the pace and is a reminder how good Uchis can sound when she mixes things up a bit. A few more moments like this to break the homogeneity of Uchis’ songs next time around would be most welcome.

Brothers & Sisters sees him build on these long established musical interests but, importantly, also add new elements to the mix to deliver a compelling listen. It comes out of the blocks impressively quickly, with each track building on the former to create a formidable initial run. ... In terms of musical statements it’s hard not to see it as his most vivid and vibrant to date.

It’s a brutal, intense listen, and certainly won’t be for everyone, but those who care to take the journey will find many rewards.

It’s not the sort of album you can ever relax while listening to, as you’re not entirely sure what’s coming next at any given point. It’s an album full of invention and creativity that never rests on its laurels – maybe not one for everybody, but those who delve into Shook will find so much to explore.