A brutal yet glorious release that doubles up as an unbending overture to fervour and force.

Breathing new life into a set of songs that could have otherwise been tragically forgotten.

While Suddenly’s highlight tracks buzz with upbeat glamour, Snaith is smart enough to tone a portion of the LP with their contrasts. Although short-lived, this is what made Swim so memorable.

With riffs weighted so they're heavy enough to bludgeon, and vocals that feel like they're being torn straight from the larynx, the album is a tour de force of high octane refrains and filth-driven focus.

As a standalone document, this is a gem of an album.

With II, Metz have done more than enough to cement themselves as the new kings of transgressive hard rock, and that's a crown which is going to be difficult for anyone to wrestle from them.

Following Marissa Nadler from one album to the next is like scraping away at the forearm with a scratch awl, each outing going progressively deeper, and we’re finally at blood and bone.

Marigolden is a quiet exclamatory statement hearkening toward what’s gone missing from America’s roots.

Despite these downbeat descriptions, the beauty is evident from start to finish.

The New Abnormal cements their continued relevance when many had been written them off, and as ever they don’t seem to care either way.

It’s The Avalanches’ efforts that make this album, although the deeper forays into hip-hop on "Because I’m Me", "The Noisy Eater" and even the poorly-received comeback "Frankie Sinatra"--much stronger in context--lend a nice variety and harder edge.

He demonstrates an effortless knack for crafting intricate and loveable pop gems, while shamelessly embracing heart-on-sleeve lyricism about love, dreams and shooting stars. ... He has managed to produce one of the year's most interesting indie records.

It’s ambitious, even expansive, in scope, despite the introspection his lyrics communicate, and even if it wasn’t the intention, he provides an incredible snapshot of urban life through the lens of love and brittle electro-soul.

This is a debut album that cements Fender’s place at the golden table: the perfect first attempt.

Over the course of the record, MØ finds her own identity again. And although Forever Neverland features Diplo, Charli XCX and Empress Of (two of which for whom she’s returning the favour), they never overshadow her; a refreshing angle considering she’s been the featured one for the past few years.

These more polished but less straight-forward songs makes for their least instantly gratifying collection, but leaves a strong feeling that in the long-term it might become the most rewarding yet.

It’s hard not to lavish Owens with praise here, but atop Inner Song’s exceptional track list and an underlying message based around acceptance and healing, Owens uses those experiences to expand into a wider array of exploration and storytelling.

Sukierae’s the kind of a record where almost every listen provides different favourite moments. That has to be a very good indicator of its overall merits.

It’s not an exaggeration to claim that it is one the most honest, soulful and inspiring debut British rap albums since Roots Manuva’s Brand New Second Hand from 1999.

A Sunny Day have just about mastered the pleasure principle of a certain kind of agreeably arty pop music.

The Beths have managed to create another overwhelmingly thrilling record. One in stunning communion with their debut but also distinctly its own creature.

On the surface this band is whimsical and experimental but delve into the depths of their lyrics and the inner darkness becomes apparent. Adventurous and often enchanting, Burrows is one of the more intriguing debuts of the year.

This is a powerful, brave and endlessly rewarding album made by a band who have risked it all to make a giant leap towards fulfilling their potential.

C’est La Vie once again finds Houck creating sumptuous soundscapes of scorched Americana that range from slow burning laments to tipsy waltzes, but this time around with a renewed flow and finesse.

Garratt’s latest offering is a triumphant return. It is an album that does not ask you to relate to his pain, nor tells you to dance over your problems. It is an album that tells a story and ultimately, holds no fear.

Pure Luxury’s strengths issue from the way it commits wholeheartedly to a brash sonic blueprint, the unremittingly sleek surface polish sharpening its underlying social commentary - Lovett’s songwriting at its most multi-layered.

Mental Wounds is a spectacular display of two bands continuing to push expectations and who’re willing to be the flagbearers for revision.

The cleverly engineered structure makes you feel like you once again understand why the album is a thing of beauty. It makes sense. It flows. And Joakim just makes it look so easy…