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

And such are the music's joyous highs, subtle thrills and rich and deep layers, they can undoubtedly be judged one of the most worthwhile and special bands currently at large.

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.

These songs have a level of depth, detail and ambition that show how Case does things emphatically on her own terms. This album reveals her to be at the peak of her powers, extending her already strong legacy in hugely satisfying fashion.

The whole of Entomology should open new ears and eyes to Josef K's thrilling, scraping, clattering greatness.

It’s a smart, attentive-demanding progression--within the song and throughout the album as a whole--that deftly captures various stages of love’s cycle. With added synths.

For those that are willing to kiss goodbye to the guitars and join Parker on his latest detour, you’re likely to get swept away by the dreaminess of Currents. It’s just a shame that the undeniable majesty of opener Let It Happen sees the album peak at a high it can never hope to reach for the remainder of its existence.

Liars have not only been reborn creatively, they’ve emerged with by far the most accessible album of the band’s illustrious career to date.

Hadestown may have gained her success through her successful harnessing of external inspiration but by turning attention inwards on this occasion she’s delivered one of the quietly outstanding albums of the year.

At best, it sounds like an honest re-fashioning of comfortable old sounds. At worst, it sounds like a forgotten Christine McVie solo album.

Yes, Heavy Ghost is weird, but Stith's melodies are simple and wonderful, making his experimentation easy to follow and, with his enchanting choral throughout, it's easy to get lost in every song--or even engulfed into a new fantastical land that you may never want to escape from.

Jacklin has an uncanny knack for documenting her generation’s anxieties and issues, and wrapping them up in songs you’ll be humming for weeks. She is quite the talent, and going by Pre Pleasure, she’ll be around for quite some time to come.

Halfway through a song like Blouse (think Our House by Crosby, Stills, Nash & Young but resolutely uncatchy) this reviewer begins to yearn for the Clairo that worked with Danny L Harle and Mura Masa, though Sling is an album that at least works on its own terms.

The more collaborative approach this time around has led to a more fleshed-out sound than his early, more minimal work, but it still contains the usual Oldham magic.

Packed with oodles of overdrive and a dissociated, ambient feel, Sour Cherry Bell is another enjoyable release from an artist who is rapidly reaching the top of the dream-pop scene.

His is a rare talent, demanding to be heard.

The Instrumentals album is naturally a looser, less magnified affair, consisting of collages of the exploratory, freeform acoustic guitar improvisations that each day of the recording sessions would begin with. They showcase a different side to her creative process, but it’s undoubtedly on Songs where the emotional impact is located.

Suddenly finds Snaith in his element, writing beautifully endearing tunes and setting them to multi-layered production in a way only he can, and the results are spectacular.

Only the slightly lightweight nonsensical The Ram-A-Lama-Ding-Dong Song fails to land (thankfully, Zimmerman’s opening request of “does anyone have a kazoo” is met with a negative) but otherwise this will serve as a fine introduction to Zimmerman’s music.

Electric finds Pet Shop Boys more daring and accomplished than most pop stars half their age.

There is a epic scale to many of these tracks, and there is also an underlying and undeniable sense of violence. Yet curiously Aurora is also one of Frost’s most accessible and positive sounding records, and one of his most metallic and industrial efforts to date.

Amid all this existential and transcendental pondering, there’s the sense that Vampire Weekend have re-imagined themselves as the sort of band who could be doing this well into their 30s.

eternal sunshine also represents a triumphant return to form, sophisticated pop music complementing her distinctive voice beautifully.

Heaven is a tantalising glimpse at just how brilliantly amazing Rebecca can be when she wants to be.

For a debut album, this is remarkable stuff and hints at even better things to come.

It makes for a wonderfully life affirming record, capable of humour, joy and reflection. Every home should have one.

The message might be shorter this time around, but it is just as pointed and effective.

Despite their faults, The Black Keys do have something to offer the world in terms of reliable, entertaining garage rock. Just don't expect innovation.