Delivering on all his potential with the sort of nonchalance and assurance we’ve come to expect from the young man, 6 Feet Beneath The Moon is a special album, from a special artist.

Heaven is even better than their debut: what a relief that Dilly Dally managed to put any remaining tensions to bed before making this exceptional album.

It’s an album that may not crack the Top 10, but to those who succumb to it’s beguiling atmosphere, this is a record that will live with you for some time to come.

This is sensitive, heartfelt and resolute rock music that shuffles its feet while looking at the stars.

There's a darker lyrical side to the album at once incongruous and ingenius when placed in such celebratory music.

They create a mood and atmosphere that's certainly unique, but one in which very few songs stand out, despite some fine moments.

If there is a flaw, it is that some jams are more eventful than others, as seen on the busy but ultimately inconsequential Daylight and Tear To My Eye featuring Eric D Clark and Beirut‘s Zach Condon, but this is something of an occupational hazard and the creative spirit is clearly heard throughout.

This looks to be the album that has really brought the nomads that make up Hamilton's band together, and it's another Canadian triumph to add to an ever-increasing list.

Side A listens more personal and vulnerable, whereas side B, named EG.0, allows the pop goddess within to let rip.

Get Back is a really great record, and one that goes some way to cementing McBean’s name amongst the legendary lifers that he’s trying (successfully) to emulate.

It successfully establishes an effective common ground between the musical traditions of Africa and the Caribbean. It's also a sweet, appealing and vibrant set delivered with a satisfying combination of energy and sensitivity.

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.

With its often complex textures and patterns, much of The Secret could represent a challenging listen for those unfamiliar with music of this genre. Yet it's unquestionably a triumph; building impressively on Vieux Farka Toure's promising work to date and making good on its creator's promise to "dig deep into the secrets of my own history and my country's culture in order to move the music forward. "

Easily her best since Made Of Bricks, and it’s a beautifully satisfying conclusion to what has been, by all accounts, a turbulent few years.

Overall, Bugbears is an album that reveals something new on repeat listens.

Sure, they may have lost their vulnerability, but School Of Seven Bells suit their new found assurance, and in doing so win our hearts for a second time.

For the most part, this is a fizzing, fuzzing album that manages to sound both younger and older than the band that produced it.

Vince Staples is a worthy continuation of his oeuvre, and proof if it were needed that his paradox of youthful energy and world-weary cynicism remains as captivating as ever.

This new album shows that they are capable of not only subverting the expectations of the audience, but subverting expectations of the music world in general.

Goldberg, though, ought not to be penalised for his occasional switch of stance and self-leniency: this is an album that may not grace millions of record collections, but may well enjoy classic status in those that it does.

All Thoughts Fly is undoubtedly a peculiar album, but absolutely one well worth investigation.

This record, more than any from their back catalogue, is a slow burn. It doesn’t have the spiky malevolence of North American Scum or the punchy pull of Daft Punk Is Playing At My House, but it does have depth to spare. Sonically, it’s the richest record they have produced.

It’s difficult to find much at all wrong with Hooton Tennis Club’s first long player. In fact, it’s ace.

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.

Tape Club is a fine time capsule for their first decade together.

There is no filler as such on Some Nights I Dream Of Doors, though there are some pacing issues that could be dealt with by rearranging tracks. However this does not prevent it from being an auspicious debut, and a fine showcase for Obongjayar’s many talents.

American Utopia is epic, it’s sprawling, it’s filled with everything but the kitchen sink, but most of all, it’s filled with promise.

They've produced a solid second album that is sure to succeed for them as long as they can maintain a good level of exposure.