Nobody Loves You More has both the versatility and reflective quality of a ‘best of’ compilation, but one that simultaneously hints at there being plenty more highlights to come.

What’s remarkable about the album is how this disquiet slips in amongst some of the most purely beautiful music they’ve ever conjured.

As its title suggests, Chris is a supremely confident introduction to the next phase of Christine and the Queens.

She can’t do any wrong at the minute; this is timeless songwriting, and Tigers Blood is a worthy successor to Saint Cloud.

Pink Noise is a John Hughes soundtrack just waiting for its film to be written and it’s a bold return from an artist with a point to prove.

Meaty riffs, expertly orchestrated songwriting skills, arena-championing choruses, and delicate experimentation with metal nuances – this is Slipknot, and this is undoubtedly a Slipknot record. If you want We Are Not Your Kind to be heavy, you got it – but there’s far more craftsmanship hidden beneath the distortion.

When Bright Green Field follows in the footsteps of their best track The Cleaner – supercharging the banal and mundane with vigour and purpose – it rips, mixing genres like straight-ahead indie-rock with funk and jazz, and exploring ambient and textural backdrops which make their now-home Warp apt.

LC! demonstrate once more that they are masters of drilling down into the minutiae of life, spotting the danger ahead, while remaining powerless to make better choices.

It’s testament to Clark’s self-assured and enigmatic oeuvre: indeed, she still holds surprises for us yet.

Sanguivore is a love letter to the 80s, whether it’s punk, pop, hard-rock or heavy metal, and it’s bursting with great songs that are sure to please long-term and new fans alike.

An album of impeccably considered concepts championed by songwriting that refuses to let the Dublin outfit down.

It’s been a long time, but Riderless Horse is a timely reminder of what Nina Nastasia has always done. Great songs, performed brilliantly, to devastating effect. A record of powerful simplicity, and a stunning return.

It’s an album of growers, taking its time to reach unconventional climaxes. But there’s nothing fluffy about it; Jordan’s delivery is clean, precise and exudes confidence well beyond her years.

It’s the soundtrack to our most outlandish dreams, perhaps the exit music to the unmade film of our most romantic lives. If you're still to discover Radiohead, listen to this, for it's the perfect way in.

From the John Barry-esque orchestration of Reaching Out, to Talk Talk’s Lee Harris’s febrile percussion on Rewind, the album is full of richly detailed arrangements that allow Gibbons to free herself from the pull of Portishead’s past.

The extremes of emotions are covered on Masseduction: the highs and lows of love, heartbreak and just general life. It is the closest we’ve ever been to Clark, and it’s probably the closest we’ll ever get.

That’s not to say that Saint Cloud is all moments of quiet self-reflection. Crutchfield’s artful command of heartfelt truths is still present and correct.

While pulling from here and there, what binds Sometimes I Might Be Introvert together is a flair for the cinematic and the result is an album that's both monumental and an innermost peek into Little Simz’s soul.

This debut LP sees English Teacher beginning to consolidate and take the already-delicious sounds introduced on their Polyawkward EP to even greater heights.

If Jenkins is the poster child for anything, it’s that there’s always a place for yourself in the vastness of time and space. It’s a striking, and very human, proposition throughout the record that grief and anticipatory awe can exist as a singular emotion, in a blip on the cosmic scale; the overwhelming ego death of human self-importance and the perfect realisation of its own in-spite beauty, that love and death are on the same spectrum.

Despite being an unnerving, disorienting listen, where samples of screams or phone calls clash with blank verse lines weaving in and out of consciousness, GOLLIWOG is a hugely rewarding experience. Blending an immense array of collaborators on the mic and behind the desk, it somehow manages to string them together cohesively in impressive fashion.

The duo’s knack for high five-worthy boasts and massive one-liners remains undiluted. However, RTJ3 truly excels in some of its darkest moments.

This music is experimental and diverse in its sonic scope, but each unique sound is in service of its greater whole, making for a record that is undeniably the vision of a singular artist, a true auteur.

Overall, POST- is a moment-defining record both for Rosenstock but also for wider popular music and culture; it's equal places angry and fun, something we could all do with in 2018.

Not a single emotion is spared, as manic meltdowns (Medicine Burn) blend into polished pop (Kerosene!) and moments of melancholy (Romanticist) – all of this depicting a mind running riot.

A nine-track tour de force laden with biting observations and curious characters.

The album as a whole is a strong argument for Olsen being her generation’s finest songwriter.

This is a record with a remarkable scope. Hawk’s lyrics are still vivid and romantic; brooding, teasing and taunting as his narrators’ gaze shifts from Berlin rooftops to Scottish seaside towns.