The Talkies is a devastating and jaw-dropping record that provokes awe and anxiety in equal measure. Although there are elements throughout the record that are ‘quintessentially’ Girl Band, The Talkies builds upon these elements and makes a vast leap sonically and narratively with the aid of unrestrained experimentation. There is a definitive artistic expression found on The Talkies and frankly it should be a late contender for any albums of the decade list.

A Picture of Good Health addresses issues more personal. And though predicated on personal experience, it’s a record that looks inwardly while projecting outwards, all the while letting listeners know that however on your own you might feel, someone somewhere has been through the same, and that you’re not alone, no matter how much it might seem like it.

His further point of recognizing singing as his strength and songwriting as his weakness is the most self-aware and perceptive comment either Gallagher has ever made professionally, and Why Me? Why Not clearly benefits as a result.

The sparser the group go, the more space they have to fill and the more it sometimes feels like they’re straining. There’s beauty here, no doubt, and they’ve lost none of their technical skill. The move to Danish also brings an exciting new element. But, after years away working together on other projects, one suspects there's room for more inspiration here.

Taylor and co-producer Brad Cook (Bon Iver producer and collaborator, formerly of Megafaun) use the space and details of the performances to emphasise the mood of the songs more effectively than ever before.

Not unlike The Twilight Sad’s mastery of making an emotional impact with the combination of a few choice blunt images and a monolithic musical arrangement, Of the Sun derives a good portion of its power from persistence. Trupa Trupa continue to hit the mark as they experiment with simplification without excising the art from their rock.

Lookout Low is brought to a mellow ending with slow rock song “Sunken II”. The album as a whole has to be Twin Peaks’ most diverse, musically explorative and mature album yet, leaving fans with curiosity and excitement about where the band will go from here.

Days of the Bagnold Summer encapsulates the best of Belle and Sebastian whist simultaneously narrating the key themes of the film. The gentle approach of the album and the complementary nature of the band’s rerecording’s and the new tracks are hard to fault. Belle and Sebastian have truly found a beautiful sweet spot on Days of the Bagnold Summer between a film soundtrack and a signature sounding album.

Birth of Violence isn’t Wolfe’s best album, or her most intense, or her most accessible. But what it is is a combination of elegant songcraft, dread-fuelled musicianship and otherworldly vocals. ... Birth of Violence no longer stands in the centre of the crossroads, it opens up a new road... down.

Through AMHAC, JPEGMAFIA has attempted to produce something so questionable, unique and conflicted in its elements, that on first glance, it’s uninviting and dissonant. This goes for the use of his close friends giving faux unfavourable comments about the record in the PR campaign too. Yet that friction he creates and the doubt at the front of your mind makes you concentrate more, breathe in every element and realise its undeniable quality.

While the two records share an airy, ethereal DNA, The Practice of Love is a far more palatable, more replayable affair – it just doesn’t seem to hit as hard as its sister, but very few albums do.

Ma, to an extent, substitutes freeform elements with a more bankable linear path, orienting between breezy accessibility and flashes of lateral sprawl; a pattern that serves to engage adequate interest. Honeyed highlights compensate for less tight moments, paralleled with a ponderous, but temperate pace; translating into an elegant offering from Banhart, despite gratifying a teasing fondness for excess.

Miami Memory displays an increasing, albeit cautious, capacity to divert from a well-trodden trail; seeing Cameron’s confessional voice explored and defined to a degree previously unseen in his output.

Showing no desire to even the scales or to polish the extremities of his vision, as we near the end of this decade (Sandy) Alex G has re-established himself and one of our most inventive and intriguing voices.

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

Tracks are also structurally diverse. Fans expecting an album stacked with back-to-back bangers, as Nights Out (2008) and The English Riviera (2011) are, will be caught off guard. Instead Mount gives his creative muscles space to flex wide, sandwiching catchy hits between mysterious soundscapes and zany instrumentals.

Charli is almost there. Ultimately she’s too gloriously messy and multitudinous to produce such a thing. Although she could often benefit from an editor, her process and vision doesn’t adhere to the music industry’s prioritisation of the album format – which feels right for an artist whose music could be read as an attempt to dissolve time itself.

It's a moody, hazy, gloomy take on modern jazz. It’s also a return of Iggy Pop the elder statesman, the icon, the legend in his own lifetime. But, more than that, it provides a fitting end to a career, on his own terms, if that’s what he wants it to be.

While it’s likely Perri has an endless queue of tracks just waiting in the wings, we have to applaud his efforts to refrain from gifting them all at once. By doing so, under his simplistic, unhurried touch, Perri humbles us once again, reminding us that patience is assuredly a virtue.

It’s a special place, in which she has the peace and comfort to continue to snatch all those thoughts and feelings out of her head, and distil them into her signature, singular poetic epiphanies. Just like those that give Close It Quietly the huge depth that it has, and mark it as an indie pop album with a substantial difference.

Love And Compromise was written as an album for everyone; on those terms, it's an unqualified, joyous success.

The Competition proves a multi-layered offering from the two-piece, juxtaposing viscerally relevant themes with modulating, often overpowering soundscapes. It's volatile, beguiling stuff, and utterly distinctive.

She gives you everything, expecting nothing in return, lavishing you with luxurious, gothic glamour and saturnine pleasure. A modern masterpiece.

Wallop is so confident in its ecclecticism, but it really impresses when the more simplistic, unpretentious urge to move hips and raise hands takes the fore. As always, an absolute pleasure to spend some time locked in with these brilliant oddballs.

Yhe album is as allusive as the rest of Del Rey’s discography; Robert Frost, Sylvia Plath, Slim Aarons and Stephen King are just a few of the notable individuals both subtly and explicitly referenced by the singer.

She takes the woozy, sub-bass-soaked beats and splashes glittering melodics over the top, adding her own little sprinkle of icing sugar. Listening to Zdenka 2080 is a little like how it would feel to be floating through space: disorientating and fascinating, leaving you with a constant tingly feeling upon your skin as your drift ever closer to the sun.

Hoodies All Summer is an exceptional achievement, proving once again that Kano is one of the UK’s most versatile, thoughtful and talented voices.

Devour overall is a punishing, malicious force of a record, one focused entirely on the eradication of any sense of self and musical procedure, with no room for reprieve. It perfectly captures the raw, hemorrhaging nature of Chardiet’s thematic intention, and live performances and in this way it is nothing short of an unbridled success.