There is an authenticity that bleeds through this album. It is proper DIY- rugged and unique enough to know this is coming from a human, yet polished and carefully crafted enough to feel the pride and excitement in sharing a work of art for the public to claim.

The record's ability to be simultaneously dense and accessible, joyful and thoughtful, inspiring and cautionary, allows it to make a case for being an essential record for anyone in their twenties.

SVIIB is an utterly beautiful piece of work that is all about finding joy and hope in even the darkest of times. Supported by bold synth pop tunes in their own right, it's a record that you're unlikely to forget.

At just 40 minutes in length it's concise to say the least, but the result is a hearty meal that will subtly introduce you to a new flavour every time you return.

This is music that can offer everything, but demands nothing. That's no small feat for dance music in the howling maw of 2017.

A Place I'll Always Go makes you forget about the good, the bad, and the ugly, and proves the fact that Palehound are one of the most relevant indie rock bands to date.

It is an album with a vibrant, thumping heart that, while bruised and battered, keeps beating through it all. This is music made for people who have needed music to keep going.

They motor through these fifteen tracks with an energy and a precision that is a joy to hear, with the needles in the red all the way.

Needless to say, despite its seemingly slight 29-minute length, High packs in more than enough ideas, hooks and moments of pure emotion that it will not wear out anytime soon.

Unafraid to delve into their every whim, from the accomplished to the adventurous to the absurd, CHAI are just about as now as you can get without stumbling into the unrealized.

The musical event drips in unprecedented additions that welcome alternative vocals from Erykah Badu, Janelle Monae and Jesse Boykins III to the track list, along with fervent features from King Louie, Big Sean, J Cole and Quavo, that lure the rap artists out of their comfort zones and onto intricate live compositions.

When the walls seem to be crumbling, she dodges them with vocal acrobatics and surging production. As we look forward to a happier time, less insufferable, NAO shares a bit of bliss in her coming-out party as one of R&B’s most promising young dominants.

The album’s strengths aren’t limited to its bookends. ‘Rainfall’ would go down as the instrumental track of the year if not for the vocal contributions of Katharina Caecilia Fennesz, which blend so gracefully in the mix that you might not even realize they’re a human instrument.

The 45 minutes of his new record are a textural deep-dive into the patterns and pleasures of the psyche, and it is both fascinating and fascinated in its results.

This is a record created entirely on his own terms, and in doing so he has also produced one of the finest records of his remarkable career.

As with all instrumental rock, Forgetting The Present is hugely evocative and powerful.

In all, Holter has made an album about blissful, hypnotic escape in many forms, and in listening to it and engaging with it, you'll be overwhelmed by these feelings too.

Will is a triumph--it takes the kosmische regurgitations of Oneohtrix Point Never, the choral, almost religious feel of early Julia Holter and the relentless thirst for finding the new in the old of The Caretaker to make an entirely new statement.

It's an introspective, at times hesitant collection yet in the way most introverts allow themselves to relax within company, the more time you invest in The Colour In Anything the more readily you will discover its qualities.

Whether the waves will have died down enough for him to return to other topics on the next Mount Eerie album is yet to be heard. But, if he does make another album in honour of his deceased wife, he’s proven here that he still has enough love and poetry in him to make it a deeply resonant and worthwhile listen.

As a cohesive album, Beauty Behind The Madness showcases artistic growth and sonic progression through danceable pop deliveries like 'In The Night' and grand acoustics like 'Shameless'.

Grouper tenderly and quietly beckons you nearer, allowing the sadness to seep into your bloodstream. Lyrics are distant and difficult to decipher, however it isn't hard to comprehend the emotional weight of each track.

While MNIMN's faults lie in its sequencing and filler, Darkest Before Dawn is concentrated and trimmed. And Pusha T, strengthened.

From the patient, rising tension and ecstatic release of the Black Sabbath-esque opening of ‘Glasshouse,’ right through to the heady-guitar-noodling-meets-full-throttle-pop-punk of closer, ‘Step Outside,’ Screaming Females manage to keep things, not just interesting, but wall-to-wall, grin-inducingly entertaining.

Dedicated to Bobby Jameson picks up where the late Bobby Jameson left off, solidifying his name as an inspiration for one of the most impressive indie-rock records of the past decade.

Make no mistake, Oxymoron is rather brilliant, and provides a perfect foundation to build upon in later releases. An exciting release from an exciting artist.

Utterly theatrical, it represents without presenting; evokes without mentioning; transports without moving. It's as fake as the time we're living in, and as fascinating as our own decadence.

Visions put Grimes on the map as pop's pure misfit but Art Angels secured her tangible place as the genre's most unconventional star. For those that doubted, she's done that thing she does, but better. More defined.