Acting as both sultry invitation and empowered self-confession, the song is a clarion call for all those who deign to diminish the duo’s talents – talents that blaze through on Ungodly Hour with a full and unrelenting force.

Lenderman has produced his clearest vision yet of what it looks like when the saddest & funniest people in the room are the same guy.

It’s concise and straight-to-the-point, with no signs of over-indulgence. In short, it’s the album fans of the New York rapper always knew he was capable of making.

God only knows if Great Grandpa will ever top Patience, Moonbeam. For now, let's cherish it. After all, with this album, they've proven you can't rush greatness.

All in all, Pink Noise is a roaring success for Mvula’s reinvention. It’s a joyous celebration of her past, her present, and all the success that is to come in her future. Laura Mvula is back, and she’s not going anywhere.

Though Dust often feels like it’s dreaming, you’re nevertheless consistently reminded of its complexity and Halo’s deep cognisance of the musical language.

It is the sound of an artist finally getting to let loose and say the things that have stayed locked up inside for too long. In turn, Teitelbaum offers an exciting introduction to a talented songwriter and a thoroughly rewarding debut.

A luscious, intricate body of work, Shadow Offering recounts pain, heartbreak, anger, and everything else that nestles in the heart of humanity before lifting the trodden towards the light of hope.

Hoorn’s sultry vocals; swirling, gossamer textures; and grand orchestral arrangements tirelessly interact with the record’s musculature to develop and bring to life the exquisite and anthemic anatomy of Spiritual Songs For Lovers To Sing.

Songs For The General Public is a landmark album, unlike any other, that draws from the past, churns it up, modernises it and chucks it into our present with sonic-like energy through sheer effervescing talent.

Of course The Most Lamentable Tragedy is ridiculous. It's also dumb, intelligent, heartbreaking and life-affirming.

Their quality of music and precision is outstanding, and while referencing so many of our favourite artists from eras been and gone, they perform and compose in a new light with such integrity that makes them a step above the rest.

These songs have the funereal grace of David Bowie’s elegant final goodbyes (The Next Day and Blackstar), as well as Bob Dylan’s trio of reflective, mournful albums that helped usher in--and bring some clarity to--the fractious start of the 21st Century (Time Out of Mind, Love and Theft, and Modern Times).

They inject even their most aggressive tunes with so much joy it becomes something incredibly hard to resist. Even after endless listens, not one chorus, riff, meditation or croon falls flat and none of it feels like it could've come from any band other than this one.

Death is inevitable and we don’t know what’s on the other side, so while we’re here just put everything into it. Bestial Burden is the sound of Pharmakon doing exactly that.

Wonderfully fearless from start to finish, Donnelly speaks up for those who either won’t or can’t.

The divide between Hollingworth and Walton has never been clearer in Two Ribbons, nor the subject matter more intimate.

Rounding off with the fitful “Wildfire”, Shygirl closes the curtain on a remarkable musical universe that shows she’s one of dance music’s emerging greats.

Mohawk is an album that feels great, imparts wisdom, drops sweet details and encourages both fandom and participation. If there’s fault to be found it’s in the record’s brevity.

Stonechild isn’t as much a revelation as it is an affirmation of the truth – a truth which the singer bears out across the album in fragments, inviting her listeners to construct a full picture for themselves.

Their best work yet--there isn’t a weak track among the 11.

It is an unsparing, anguished release in which we see an artist laid bare and tapping into a more natural and resonant version of her sound and self. It is the fullest and most developed work from FKA Twigs to date.

Segarra reaches, with stunning empathy, into the lives of people struggling with specific or universal hardships throughout and yet, crucially, these songs would be killer without the stories at the heart of them.

What Farao does so well on Pure-O is to create something nuanced and interesting. With an extra bit of reverb here, a pitch shift there, she ensures that the stands out from other synthpop, which can feel clinical: too clean and polished.

The bleak landscape around Dungeness can provoke contrasting responses, and both the sense of malevolence (it’s the site of a nuclear power station) and stark beauty are well reflected on this masterly recording.

Every listen yields new life oozing from each beat - above all, Anywhere But Here feels like an album that will weather excellently as Sorry go onwards.

It is all bark, all bite and Power’s greatest and most consistent release under the Blanck Mass alias, bearing a message that is as crucial as it is necessary.

Clean showcases what it is to be stuck in a quicksand of self-loathing, and have it stop you from seeing your own accomplishments and more importantly, being proud of them. If Allison isn’t already chuffed with this debut, she should be.