Beneath the corny flamboyance and exaggerated phrasing lies an album of killer tunes that may be mannered to within an inch of its life, but are crammed full of wit and bravado.

Eloquent, glamorous, spirited and now more sonically innovative than ever, the quintet have affirmed their place as one of Britain's most exciting bands with this release.

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.

At only eight tracks long, Debris never overstays its welcome – in fact, you immediately want to go back and experience it again, which is a pretty impressive feat for a record so steeped in melancholy and fragility.

Each and every song here would sound completely at home as closing credits music for any number of fantastic horror movies. Not necessarily because of the finality of the songs, but rather because they conjure an unnameable, hideous feeling that is generally only experienced after witnessing something terrifying.

21 really is one of the great 'break-up' albums, and the first truly impressive record of 2011. Here is a timely reminder that British soul hasn't lost its mojo.

It is the finest achievement of Coombes’ solo career so far, a magnificent record – and the feeling still persists that there is more to come.

Róisín Machine sees the singer charismatic, confident and in control, and Barratt’s beats accompany that mood perfectly. Accept no imitations, this album has some of the best electronic music you’ll hear all year.

Soft Tissue shows Tindersticks at their masterful best, a band that is crystal clear on where they want to go creatively and how they want to get there. They may never truly get the wider attention they deserve but for those already invested the emotional rewards only continue to grow and deepen.

The Jesus Lizard are back with a bang, and this is a resurrection that we all deserve.

With this record Young Fathers have managed a perfect synthesis between what they are saying and how they choose to present that sonically. Yes, this is a highly political and experimental record, but it is also a brilliant pop album.

Melodrama delivers everything pop music should, but yet it manages to find more. As an album it is unlikely to be bettered in 2017.

Transangelic Exodus is a beautiful, dark, twisted, painful and yet hopeful tale.

This is a bold, honest and carefree collection that, rather than announcing Kozelek's frustrated retirement, seems set to point to new and exciting musical adventures.

Not only is the music a step forward, the songs are too--and Coombes revels in their delivery.

Write off Jaguar Love at your peril; this is one of the best albums of the year so far.

It’s just about impossible to live up to the hype that an album like this has been subjected to, but Ocean comes pretty close. Blonde is often a bit of a sprawling mess, but with some patience it becomes one of the most rewarding albums you’ll hear all year.

By the end of the heartfelt Touched By You MNEK has truly made his mark with this ambitious masterwork of an album. After years in the background, he’s proved that he’s the full package.

That they can create such a heavy sound with just two people is nothing short of genius.

It’s to their huge credit that they have made such an assured and immersive album on their own terms.

Slave Ambient is an amazing record, but it is far from immediate as these songs take time to develop into something tangible.

Their first album was one of the strongest debuts in recent memory and this is an equally impressive follow-up.

At this point in Mogwai’s history, it’d be unreasonable to expect any kind of seismic shift in direction, but what they’ve done with Atomic is refine their methods to create something that could just possibly be the highlight of the career to date.

Gargoyle is yet another fantastic album from Mark Lanegan, and one that points to a new path.

This album is the full realisation of his talent as a bass player, musician and, most importantly, a songwriter. Apocalypse is, in short, a supreme triumph.

This is a magnificent and engaging record from one of our most beloved actors that both jazz aficiandos and neophytes should come to adore.

Present Tense is yet another unusually powerful invitation to savour a few abominable maledictions by these wicked vagabonds.

If you've approached Herbert's music before you'll already know to expect the unexpected. If it's your first time, use all the surround sound you have and revel in the power of free musical speech and a fantastic update of timeless jazz styles.