Sivan may indeed only be 23 and while he might not be a gay icon just yet, records like Bloom which clearly and proudly sing about same sex relationships while sounding shiny and polished in all the right places, will certainly help him get there.

This LP is clearly the product of four immensely talented musicians with a clear vision of asphalt soaked in rain and asphalt, the fears of death reflected upon by shining a flashlight through a hazy, ominously beautiful mist.

From the haunting '422', with its echoing chimes, to the dark electro-pop of 'Out of the Black' which features a great guest vocal from Robyn, there are too many stand out moments to take in in just one listen.

At eighteen tracks, it never really drags at any point, and a lot can be said for Butler's captivating songwriting.

Beats skitter, churn, and bubble with a menacingly magical quality but never do they outshine BANKS' vocals.

Pink City is a richly lyrical and instrumental tapestry weaving new life into traditional folk music by placing it in a Canadian backdrop which typifies her interpretation.

Ratchet is instantly likeable and oh so infectious. A great pop album through and through, there's enough here to keep you dancing all through the summer.

This is an album that is adaptable for any mood or setting, so long as the listeners go with the flow and let the music take control.

II does not attempt to reinvent the wheel, but instead just straps rockets onto both sides and lets it fly. And boy, how high it goes.

He has a release that bifurcates between sparkling, let-it-rip takes, over to a self-antagonistic, ball of constructed chaos.

As an album, it hangs together beautifully, avoiding the pitfalls of many concept records with its warm, honest approach.

The Endless Shimmering is such a relief to listen to. It’s not just a correction for the band, it’s also a redemption and a potential catalyst for an exciting new stage in their career as instrumental rock leaders.

What’s also new about this particular Dave Portner is that the overflow of ideas, lyrics, and themes doesn’t turn spastic and blurry like it has on records past. Eucalyptus, though adventurous, is down to earth and focused. It’s by far the most spiritual Avey Tare has ever sounded (except for the transcendent love on AnCo staple ‘Fireworks’).

At Weddings doesn't allow itself to wallow. If anything, it's Tomberlin sharing with us her own form of catharsis, a collection of intimate and powerful songs that sift through life's more disappointing and challenging moments to find the beauty we sometimes overlook.

Careful attention to details grounds the story and makes it believable. You know, insomuch as a tale of transangels can be believable.

Progression is a funny word; in some ways La Dispute are the antithesis of progression, they’re more a freeze-frame of the moments and memories we try to get away from. This ability to cherry-pick these moments and refine them to poems told in a desperate, choked-back, strained delivery is the genius of La Dispute, and the reason they are now one of the pivotal post-hardcore bands of the last decade.

The Midnight Sun is more of an atmospheric experience, than an emotive one. That’s less of a problem than it would seem, because the atmosphere that C Duncan has crafted is mesmerising.

Much like this path's brightest gems, Revelation is unique, yet strangely familiar.

Overall, On Your Own Love Again is a mesmerising, bewitching listen.

Throughout the album we’ve been bathed in guitars and subtle synths, giving the music a hazy immaterial feeling, as if we truly are embedded within the shifting thoughts an overly-active mind.

This is a gratifying song collection.

American Football (LP3)’s sound is more expansive than ever, production is slick and Kinsella’s lyrics have matured along with him.

[The stories] are universal and they are forgiving, and only a songwriter as soft and deft as Kevin Morby could have pulled it off so charmingly.

Brick Body Kids Still Daydream is the very definition of a slow burner. It lacks a track as instantly iconic as ‘Doug Stamper’ off Dark Comedy, but it reveals its layers and details gradually.

Honeybear is rich with sarcasm, flagrant in some places and barely discernable in others. It is impossible to take seriously, but too damn compelling to be dismissed.

Despite the album adopting a confessional structure, the characteristic elements of The Soft Moon’s aggression remains. And it all sounds dirtier, gritter and angrier than ever.

Greenwood gets the concoction right: all of the above culminate in a strong, memorable debut that leaves the listener aching for more.

10 Futures takes Aqualung from the depths of forgotten, one-hit-wonder music territory and brings him back to the surface.

When The Cellar Children See the Light of Day is an excellent record, and one which reinforces the role artists like Mirel Wagner and her like can still have in a modern music setting.

Everything about You Won’t Get What You Want is carved out of sheer insert-synonym-for-unhappiness-here, from the guitars to the drums to the vocals, but there’s more than enough nuance and versatility to earn your respect, even if it’s not something you’re typically drawn towards.

It may not hit the mark every time, but her adventurous, unapologetic approach to driving pop forwards to exciting new ground should be praised.

Each of the nine tracks holds its own.

She has a way of expressing herself with such brutal honesty and conviction, it can be a little alarming at times, but qualities like those only serve to make everything she touches on all the more palpable, and they are also part of what makes Sore such an impressive and refreshing debut.

There is no tweed/banjo suffocation here, and the hands-aloft brand of folk that Horse Thief have stumbled upon only strengthens the power of what are finely-honed pieces of intelligent songwriting.

There is restraint here, an alien concept for a band of Lightning Bolt’s usual undiluted abandon, but there is also the gleeful harshness which makes them such a force of the underground music scene.

It absolutely is [worthwhile]--engrossing you from first hammer blow to last squeak.

On Hermits on Holiday they have knocked out nine fascinating tracks with effortless skill.

They’ve dredged up their youthful feelings and animated them in both honest and affectionate tones, and it makes You Might Be Smiling Now… a joyous rummage through swathes of bleary nostalgia.

A Season in Hull is a cast-off gem, another diamond in a career of low-key marvels.

Albums like this are refreshing for that exact reason; you actually have to have enough patience to allow the beauty and grace of her work to reveal itself, but in the end your patience is more than rewarded.

It's a thoroughly considered record, demonstrating that Rodriguez's personal and artistic growth are far from mutually exclusive.

At its peak, Boo Boo is Toro Y Moi’s most luxurious, if not remarkably lush effort since 2011’s Underneath the Pine.

Compton exists now as a reminder to the current oversaturated pit of modern rap that legends aren't born overnight and there will never be another Dr. Dre. Hip-hop's first billionaire hasn't forgotten where he comes from so let's not forget what he's done to get here.

There Existed An Addiction to Blood is shocking, insightful and unlike any other hip hop release this year, and quite possibly Clipping’s most impressive work to date.

That deeply empathic acknowledgment of the darkness that chases us coupled with messages of positivity to help us keep running, keep moving forward, and stay ahead of that same darkness. More so than the volume of the guitars or drums, or the feral power of Monks’ screams, it's this that makes Heaven feel so damn heavy.

Regardless of its leanings towards the descents into gloom, Go Dig My Grave retains a gorgeous edge, Susanna’s vocals are alluring as ever, on one of her most unique projects to date.

Blank Realm have offered up another album that refuses to reveal itself right away, and instead, it gradually lures you in and rewards you with previously overlooked gems with each listen.

Far from diving deeper into the bleak, sonic maelstrom that has characterised most of their work, Pe'ahi is their most open, emotional record to date.

What a Terrible World, What a Beautiful World is scored through with the group's idiosyncracies--there's certainly no loss of identity here--but what there is, as well, is maturity, ambition and variety, all of which conspire to form the basis of a very fine indie rock record--and there's no strings attached to that qualification.

This album might not do anything particularly revolutionary, but as an example of affable, nuanced power-pop, it is hard to beat.

Evidently, the Worth EP was quite literally worth the wait.

There are not many people out there doing retro-sounding albums that aren't a mere repetition of something that's already been done several years before (and probably better), but Diane Coffee manages to be hopelessly nostalgic without sounding déjà vu.

Rather than being a tearjerker, C'est la Vie instead serves as something of a safeguard, a protective companion, a generous friend down paths of memory we may never have intended to traverse again, and that we'd shudder to travel alone. Phosphorescent's music is as giving and truly kind as ever.

Certainly some tracks could use grounding and a smidgeon of common substance to prevent a stupefying hypnosis--but in many ways that's the appeal.

Finally, she has stepped out into the light, her outward-facing confidence having infused her music with a timeless joy.

Hinds have shown that they are a force to be reckoned with on Leave Me Alone.

Ephorize signals the true genesis of a fully realized, ambitious voice in hip hop.

Feeling comfortable is not something neo, and by extension So Pitted, is concerned with. Instead, exploration of the darkness and sickness of life are the key drivers and if neo is any indication, it is pretty compelling material.

Reward could easily exist in a decade long since past but become a hidden gem, along the lines of Linda Perhac’s Parallelograms or Vashti Bunyan’s Just Another Diamond Day. Thanks to streaming, far more people will be able to hear it.

Stetson's bass sax is still an extraordinary thing to hear, and Neufeld's melody lines and textures add another colour to the palette.

Like a gong bath that actually works, Sunn O))) are an entirely preternatural entity who exist within a state of liminality, sound created within but also between time, in contrast to the banality of music as narrative. Pyroclasts is best listened to loud, obviously.

Although she’s got a considerable back catalogue behind her, and she’s not exactly reinventing herself here, this feels like a new beginning for Caroline Polachek – and it’s an unmitigated delight and success.

This album is about the layers that play out in a minimalist way. Each brush stroke, each note, is purposeful. This album doesn't scream "listen to me", it gently draws you in.

Without question, Twin Peaks has nailed the mood they strove for with Down In Heaven. Sunken and Wild Onion were solid outings, but it feels as if the group has really hit their stride here with their third and best LP to date.

With Slime Season, Young Thug went back to the confidence that got him to where he currently is, but with this confidence comes a much improved skillset.

Despite its depth of ideas and imagery, AQUARIA starts to feel a little thematically one-dimensional until you get to 'Only', a straight ahead piano-driven, introspective slow jam.

They balance catchy pop melodies with the sneer of a 20 something who still cherishes their old Black Flag and Talking Heads t-shirts. You catch something new each time you listen to this album.

Saturn is quite the trip, more than worthy of its stellar name.

It’s hard to work out whether this is an album, an EP or a playlist, and at 22 minutes long it’s difficult to feel fully satisfied and does leave you wanting more.

Morning Phase is a terrific mood piece and a worthy follow-up, even if in spirit only, to Sea Change; it lacks the gripping unease of that album, but replaces it capably with genuine warmth and a sunnier outlook.

The highlight of Best of Times is its epics; the ambition of their social commentary is matched by their compositional complexity.

Dead Cross is a solid record, which doesn’t exactly boast any instant classic songs, but is filled to bursting with individual moments that will floor you.

Across the sixteen tracks that make up this entire project they’ve by and large avoided the awkward moments that have made listeners cringe on previous releases, they’ve finally nailed how to produce and mix Reznor’s voice so that his still somewhat heavy-handed lyricism doesn’t distract attention from the considerable craft that’s gone into the music, and they’ve found a way to organically explore new sonic avenues which mean that, while Reznor might feel like he’s trapped in a loop, doomed to continually find himself back where he’s already been, Nine Inch Nails are no longer simply repeating themselves.

Not so much breaking up with old ways of thinking as redefining and refining them, Bear In Heaven have gone back to what they do best.

Their labour of love, You, shows dedication, unencumbered enthusiasm and an eye for detail that perhaps under scrutiny of millions would not exist. Put simply: it's pretty bloody good.

With many other moments that dive into depression, death, addiction among other heavier topics, Injury Reserve’s debut record surpasses any and all expectations as a seamless concoction of serious topics flawlessly juxtaposed by extraterrestrial sounds, humor and righteous anger.

Ostro is a very good album, and it's one that sticks with you the more you let it.

Toledo's riffs could pass for classic rock on speed and make for a heady mix when paired up with such razor-sharp wordplay. The references here are as oblique as they are intelligent.

Certainly their best record since 2001's Standards, here Tortoise sound revitalised--concise, playful and sharp. They may move slowly, but when they do, it is always with renewed purpose.

The Waiting Room is Tindersticks on ravishing form. For die-hards and newcomers alike, it's hard not to be drawn in by the lush facade it creates.

All these tracks, whilst lovely in themselves, are made ten times better when tethered together.

Those seeking out a Julia Holter live album aren’t looking for pop thrills, but rather mature, sophisticated compositions performed by accomplished, unbound musicians. It is here in spades.

With his charisma and creativity at the core of these songs, and an incredible group of collaborators around him, Ty Segall has created an album that will appeal to both long-term listeners and first timers – just like pretty much every one of the other studio albums in his increasingly legendary discography

With Clean, Allison has delivered one of early 2018’s easiest albums to simply enjoy. If you’ve been a human being for all of your life, you will recognise very well the experiences related throughout its fleeting 35 minutes.

Tthe record is a continuation of Pile as voice for a bizarre following that it simultaneously evokes and has, apparently, tangibly brought together.

If The English Riviera was a lovingly weaved ode to a vibrant utopia, Love Letters, its predecessor and Metronomy's fourth full-length offering, is a return to the same shores, but under much darker skies.

The album has clearly been something of a labour of love for its creators, and feels remarkably homogenous for something produced by four highly individual minds via a mixture of live and studio performance over several years. If you like the sound of a big, camp, melodramatic slab of astrological sci-fi shot through with very earthly, twenty-first century hang-ups, Planetarium is a trip.

While this easily could have been an enjoyable throwaway, with two young artists linking up for the hype and moving it, it beats all odds to stand as one of 2017's most enjoyable and essential moments.

Jonna Lee and Claes Björklund have created a record that they hope will stand the test of time and whilst it remains to be seen if that is the case, Blue is a beautiful, engaging record that entertains as much as it inspires.

Some bands are lucky and talented enough to find a format that works and just make hay with it. Rhye are plainly in love with their formula on Blood. The result is a finely balanced gem.

If you need a good dose of enthusiastic summer sunshine then Louis Cole has crafted a superb hideaway.

After The Party is resurgent by rediscovering everything that’s exciting about The Menzingers’ esotericism, and it’s fresh through galvanising this logical step in their thematic journey with a goodie-bag of gratifying surprises.

It's hard to imagine a record more slick and fun than Tuxedo arriving any time soon.

Minimalism is an integral part of the artistry, but with such intoxicating and candid notions, the balance reached is so perfectly aligned for this type of music, and in such an apathetic age, material like this really is a dying art; savour it.

It's this widening of scope, combined with such a strong sense of identity, which makes Reality Testing tick over beautifully.

La Isla Bonita is harder, edgier and noisier than 2012's Breakup Song, but just as charming, off-kilter and curious.

Lowly make it clear throughout that they look upon life and all of its intricacies as a gift, and they have translated that wonderment and thankfulness into a beautiful ode to the world on their debut album.

International is extremely effective as a pop album, with stand-outs ('Armida' is very, very good) and a consistency of tone matched by pretty flawless execution.