Where Brat and it’s completely different but also still brat, may be hindered by its questionable collaboration choices, it more than makes up for it when it comes to displaying Charli XCX’s relentless pursuit of pop debauchery.

A a bright example of both authenticity and creativity. ... Sometimes I Might Be Introvert is tactical, theatrical, and is the product of 100,000 hours spent honing her craft resulting in a body of work with heart, and its head firmly on its shoulders.

The album could be one of the finest debuts of the decade, with every band member shining in their ability and craftsmanship.

She explores themes that have been relevant at least since the advent of the Cognitive Revolution 30,000-plus years ago – creation, destruction, ecstasy, transcendence – yet does so in her own contemporary, refreshing, and utterly commanding way.

Woods’ song begins with a view from a beach, watching as zombies staggering into the sea, except these bodies are actually just people, pushed from their home countries by corrupt governments and post-colonial extraction. “Universities empty, the troublemakers is drowned or drivin' Uber overseas”. Moments like these prove Woods to be one of rap’s best ever storytellers and, what’s even more remarkable, is that among this Golliwog remains a distinctly New York rap record too.

Idles are one of the most exciting British bands right now and Brutalism is proof.

CALL ME IF YOU GET LOST has no central theme or concept. However, where Tyler, The Creator shines on this project is how beautifully he fuses together the youthful angst of his earlier output with the older, more introspective side we have seen from more recent releases.

Sometimes is the work of probably the best lyricist writing today, and roundly deserves to be an album for the ages. If it’s not, that’s only because she’ll have found a way to top it next time around.

This proves that it's Mike's rare ability to make powerful and relevant political music that sets him apart from the crowd.

Each listen helps to start piece together the overall shape of the album, something which remains a little shrouded throughout. But its length, and depth, is also Persona's strength. An album to get lost in and to discover bits of wonder along the way.

In breaking the tides of what was once familiar, Anna Von Hausswolff revels in the abundance that she fully embraces.

Delivered with a passion that feels like it could at any time escalate to a frenzy, Rosenstock laments the USA’s current situation in true punk style with his heart on his sleeve.

Though I can’t help but crave a return to the more dark and experimental avenue in the future, the execution here is indisputable, and album is a cohesive and worthwhile effort deserving of a wider audience’s attention.

It’s an incredibly tight record packed with stellar performances, production and presence throughout. The blood, sweat and tears of hip-hop run through the album, but Gibbs has once again redefined what that means.

It's a potent start, but Allbarone gets better, deeper, more engaging and – crucially – stranger with each track, with Dury’s half-muttered speak-song voice mutating into more and more enticingly contorted shapes with each successive track.

Big Time is really a remarkable and intimate display of growth on the part of the woman who made it, thread-bare and unashamed, competing with the new Kendrick Lamar album for new heights of self-flagellation, and glorious self affirmation; made all the more intense of course by that voice of Olsen’s, masculine and feminine at the same time, and frankly criminal wield with material this naked and bare.

Brutal in some places and heart-rending in others, Milk Teeth's debut resonates through compelling emotions and ever-changing stylings.

Hawk writes like a poet, and as such you often have to dig harder to find his meaning, or even better apply your own. But these are everyday tales dressed up in finery that will embed them into your mind.

There will be plenty of important political rap coming in the near future, but it is unlikely that much of it will match the cohesion and clarity of Common’s vision

Painful carries immense weight at all times, distorted or not. Cunningly titled Extra Painful, this reissue marks the 30th Anniversary of the band and offers futher insights into the Painfull sessions with acoutic, instrumental and unreleased gems on offer.

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.

Less obsessive (and deep-pocketed) fans will be absolutely fine with the 2-CD set, but repetition aside, the deluxe set certainly offers multiple delights.

Zauner is absolutely in her element here and it goes without question that while this is undeniably her year, she’s also just rebranded herself as one of today’s top-tier indie visionaries.

From Kinshasa is a distorted transmission of a sound of a city, but it's not the neatly paved, orderly and predominantly functioning type of town most of us are used to.

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

To a certain extent, Euro-Country distances itself from her previous releases, however, the material still remains distinctly, unmistakably CMAT. It possesses the same piercing humour and ambitious craft while offering her most personal collection of songs thus far.

To this extent Only God Was Above Us defines itself by a heady mix of retrospection and relinquishment to the future – a coming-of-age awareness writ large in previous phases of their career lent further prescience with the passing of each entry in their canon.

Some might find it a mixed bag due to its atypical diversity, but the songs aren’t too contrasting to be deemed incohesive. Her lyrics are still sharp and impactful, with a little sprinkle of playfulness to fit the dominant genres. The album’s a joyous journey outside the bounds of – and without alienating – the usual, a testament to her considerable, well-rounded talent.