It is consistently fresh, inventive and beguiling, showing a band surely at the summit of their powers.

This is another step along that path of evolution destined to appear on end of year best album lists, and (ducks from those crazed blues-starved fans of old) it’s quite possibly The Black Keys’ own best ever long player.

Whether or not Shit Robot is making grooves and beats that are unique and progressive isn't the point. The whole point of his work is to embrace the glorious past and then push the necessary knobs and buttons that are commonplace today to take it to a wonderfully hip-shaking new level.

Overall, Matthew E White and his Spacebomb house band have created a brilliant debut, one that will undoubtedly have artists queueing up to be a part of this newly established project.

Home Counties is Saint Etienne at their very best, blending breezy observations and harmonies with a deep seated emotion, centred around the need for a place to call home. In these uncertain times, a blast of hot sunshine and a listen to this record certainly make the world a better place to be.

The sound might be ’80s, but this is undeniably now, and Shura a new star in 2016’s increasingly bible-black night.

Iglooghost has succeeded in an enviable task: he has managed to create a signature sound while innovating and progressively adding to that sound, and Lei Line Eon is a fine showcase for this unique artistic vision.

Wall Of Arms is an expansive, confident second album that takes The Maccabees from indie also-rans to genuine contenders.

This is music that has gloriously outgrown its unfamiliar origins and deserves to be embraced wholeheartedly.

Featuring some of the most inventive producers in pop and steered by a singer who knows her way round a catchy melody or five, Don't Stop is one of the best pop albums of 2009.

Let England Shake, Harvey's first solo album since 2007's White Chalk, is a brutal, often difficult and always unflinching look at what terrible things happen to people when nations fight each other.

His versatility serves him incredibly well once again, and ultimately prevents the demons from bringing him down. By laying bare his troubles, Ben Watt has made his finest album yet.

The upshot is an album that is one of the year’s most significant and polished pop performances. There’s not a wasted moment on Something To Give Each Other.

The legend behind m b v, as well as its songs, have created something many will talk about for much longer than it’s taken to arrive.

Unfollow The Rules – the album title was inspired by a phrase used by Wainwright’s daughter – is worth the wait, and across the 12 songs here, we experience some of the finest moments of his career to date.

Floating Points continues to create striking, original electronic music, and with this album comfortably achieves his aim of creating a set of bangers rich in colour and content. Harnessing his electronic orchestra for wholly uplifting means, Sam Shepherd has made something rather special.

It's not a totally perfect record, for which we should be thankful - remember what happened to The Stone Roses after they'd released their flawless debut? - but it is an excellent first album, and gives notice that Alex Turner is already one of this country's best lyricists.

From this irrepressible debut, we can deduce that Katy B is a genuinely exciting UK urban vocal talent, the like of which we haven't seen in some time.

It’s not depressing in the slightest – in fact, these beautifully austere, tender songs are life-affirming if anything – but like the final albums by Glenn Campbell and Warren Zevon, the knowledge that mortality is drawing close gives the album an extra weight.

It is an album that both looks back and innovates.

Planet’s Mad is an intense listen, a runaway train devouring everything in its path. It’s also an absolute tour de force from an extremely talented producer who is only going from strength to strength.

The music on Field Of Reeds is certainly not easily accessible but, at its heart, this is a supremely evocative album.

This is some of the most expressive music you could hope to hear in a club in 2025, proclaiming its desires, sexual and otherwise, in a proud but non-threatening way. Their music promises enjoyment – and, set down in a quivering heap 50 minutes later, this writer can wholeheartedly agree.

Labyrinthes is a jubilant album of experimental indie pop that hold ups to the scrutiny of constant plays. You may not have an idea of what's being sung, but it's a great album which easily transcends the language barrier.

Utterly compelling.

Musically it is arguably the best thing the band have done..

Put simply, it's a deeply beautiful record.

This album and its predecessor are worthy and awe-inspiring tributes to the man and the Malian musical traditions for which he and Diabaté were--and continue to be--the strongest and most compelling of standard-bearers.