Its confident coating signals the beginning of an exciting new path for Jay Som.

On Radical Romantics, Dreijer wears their heart on their sleeve and delivers their stories of love and lust with classic Fever Ray conviction.

While Prelude might feature thicker arrangements and traffic more in classic pathos, with Pyre, TLDP are as sublime and theatrical as ever.

Ultimately, at minimum, The Lookout treats us to exactly what we’d expect from Laura Veirs in well-crafted and thoughtful songs delivered with a warm and reassuring familiarity. Those listeners tuning in a little more keenly and willing to try these songs on time and again, though, will undeniably be rewarded with some of the finer fruits of one of the most dependable singer-songwriters working today.

Thresholder is a triumph of meticulously detailed composition and, at the same time, a masterpiece that seems to evolve, albeit in an unnaturally sepulchral soundworld of fragmentation, from the simplest of sources into a life-affirming wholeness.

This is the most diverse record put out under the Parquet Courts banner. ... It’s no enormous stretch to say that Savage is possibly the finest lyricist working in rock and roll today, and he’s certainly one of our most engaging vocalists.

An unforgiving album about an often unforgiving city.

For listeners who have a penchant for darker, glossier rock in the vein of Portishead, Jane Weaver or even Radiohead, this is an essential listen. For everyone else, it might prove to be an acquired taste, but one that lingers long after the dessert has been served.

Arkhon is filled to the brim with so many eclectic ideas that, with a different writer or vocalist, could end up too cluttered. Album opener “Lost” and the closer “Do That Anymore” are so wildly different, but instead of being confusing, you’re thankful to Danilova for somehow piecing the two together.

While it isn’t pretty, cute, comfortable or enlightening music, Field of Reeds is important, resonant, serious and very very clever.

If this sounds heavy then the album’s crowning achievement is that it often doesn’t feel that way, buoyed by percussive production from Black Milk, Gold Panda, Frank Leone and others, and Mike’s dark humour.

Certainly, there is first-rate academic-historical awareness at work (Davachi is a PhD Musicology candidate), but this fine album succeeds through its ability to convey something beyond any time-defined notions of delicate beauty.

As the concluding part of that elongated trilogy, Heartleap is the most magnificent and worthy of valedictions.

That Shadows In The Night is almost as convincing is a welcome reminder that for all his understandable plaudits as a poet and songwriter, the latter-day Dylan is primarily a protector and reviver of arcane American music traditions--and, above all, a genuine vocal stylist.

It’s a throwback to 90s aesthetics, but it’s equally a modern dance pop record, almost a reclamation moment like New Order’s late-career return to form, Music Complete. Saint Etienne similarly tap into everything they do best, but it’s by no means groundbreaking.

For All We Know is among the most impressive debut albums we’ve heard in 2016, and heralds the arrival of Nao as a unique and fascinating figure on the R&B landscape.

A modern classic, from a band who’ve made a career off the back of modern classics.

PACKS take the listener on an adventure of love, lust, pain, and dreams that’s beautifully melodic and instrumentally fascinating - it’s certainly one hell of a ride.

There is not a whiff of a cynical retread of old tricks during Raise the Roof, which manages the trick of coming across both sophisticatedly polished and winningly raw and in-the-moment.

We have 13 tracks to wander through and empathise with. Amber Bain has created a record of complete honesty, offering us a first-hand account of the highs and lows she has experienced whilst traversing modern relationships.

For an album which so clearly sells itself as a capital C concept Album, the narrative is indecipherable; each track dropping a handful of new character names, and the final song seems to give up on it completely. Tillman is a fantastic songwriter, and so some of the new material is gold regardless.

A further evolution and expansion of the templates honed on 2016's UK debut Wood/Metal/Plastic/Pattern/Rhythm/Rock, I Was Real features a rotating cost of eight guest musicians and tracks that are in no hurry to conclude.

Most disarming moments occur when things quieten down: the gently swirling, beautifully troubled “Turbulence”, for example, describes the daily grind and bustle with almost Nick Drake-ian grace and reticence. The closing "Devotee" occupies similar regions, with a propulsive, creaky organ coda that hints at what might be if Modern Nature got a bit looser next time around.

The album not only justifies its existence but also adds something vital to the band’s legacy. It’s messy, lean, sharp, and relentless. Not cleaned up. Just tuned up and turned loose.

Uninspired choice of featuring artist aside, the artistic breadth and depth of this project speaks to Reyez’s position as an emerging, formidable artist in her own right - someone who knows exactly what a good song, let alone a good R&B song, should sound like.

Sketchy is a bold album in so many ways but it’s also incredibly, comfortingly Tune-Yards: High energy, offbeat movements, looped vocals, powerful cries, incredible rhythms, a belief that fighting for what is right is the only option. It’s life affirming.

Fade is vintage Yo La Tengo, but somehow gorgeously grown-up, with moments which your head will tell you sound normal, as if you have heard them before, but which make the rest of you feel contemplative and still.

It’s a record of reflection, of trying to piece together just what exactly killed the relationship.