Skepta and UK grime’s resurrection has been one of the most exciting musical sounds of the past few years, and rather than being the climax, you get the feeling that Konnichiwa is just the start of something special.

Both qualities [her immense talent and charisma] are on ample display on Hairless Toys.

As much as Unicorn would benefit from having Solo or Salt Air included, it's a testament to the quality of the majority of the other tracks that they've still managed to make a solid debut.

More beautiful, uplifting, sweet music than you could ever require.

Banane Bleue is a contrast of blissful pop music and highly contemplative soundscapes, juxtaposing our ideal version of living and a difficult outer reality. This record captures the essence of ‘the blue banana’, a place too vast to navigate and too complex to fully understand.

Such is Tunng's appeal, the ability to do the unexpected but also to make you smile with their lyrical vignettes and musical slights of hand.

While long-term fans will lap up the album, there’s still not really that killer commercial breakthrough which will see them following the likes of Foals into bigger arenas. However, as another reassuringly consistent entry in the Dutch Uncles canon, this will do nicely.

The vocals here are telling; it’s effortlessly stunning, grabbing attention with how easily she achieves something countless others spend years chasing.

While it’s a consistently strong collection, with no real missteps, certain tracks on Beginners really stand out. The quality peaks with the mid-album triumvirate of Unforgivable, Northsiders and Twin Souls.

Sogolo is the sound of a band still developing and exploring, and that they’re still making such vital and interesting music at this point can only be saluted.

As a tribute to Molly Drake and an effective realisation of her music’s full potential for the listener, it’s a resounding success.

'Autumn Hill' is one of several tracks that will doubtless find their way onto soundtracks (Hopkins's main source of revenue), but Insides deserves to be heard as a unique and complete work of art in its own right.

Hate For Sale is surely one of the best albums this legendary band has produced, vivacious in a way that could even rival fan favourite Learning To Crawl.

There could be an argument that a couple of edits to make the track listing shorter would have resulted in an even more effective album. However, this is easily one of the best pop albums of the year as it is: one that’s unlikely to be bettered unless a certain Ms Swift really pulls it out of the bag.

It’s an album that reveals its charms slowly.

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.

While there are no surprises to be found on A Bit Of Previous – it’s pretty much a textbook example of how a Belle and Sebastian album should sound after 20 years – it’s a warm, comforting return for a band who do what they do extremely well.

It may not be a barrel of laughs, but My Favourite Faded Fantasy proves that nobody does hushed introspection as well as Damien Rice.

This is easily Beyoncé’s best album yet, a clear progression from her previous work and a musical triumph.

World On The Ground has an accessibility and lucidity that should see Jarosz win new fans. This is a highly accomplished outing by an artist very much in the ascendancy.

They’ve certainly aimed for the mountaintops with Himalayan and quite often they reach the summit.

While there are no big surprises on Rockmaker, most of the tracks on the album are as instantly addictive as in their heyday.

Lidell has been through a lot in his personal life since the last album, and it seems that has prompted a rethink on his music - a turn in direction back to the less predictable, more incendiary writing of Multiply and his days with Supercollider. It suits him to be back in that place.

From the opening crunch of Two For His Heels to the closing majestic sway of ‘Tis Night, it adds up to his best album since Standing At The Sky’s Edge. Those who have just discovered Hawley through the musical will be delighted, as will his legion of long-standing fans – this familiar mix of Sheffield steel and sentimentality still runs deep.

It has an unnerving, visceral impact--it is fragmentary, destabilising and confounding but all in the best possible way.

Broadcast have produced arguably their finest moment.

With this fun and obnoxiously reverent album, they should get the inmates rioting.

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