Everyone will have their own favourites. It’s just a blessing that picking one will prove so difficult.

The impact of his earlier existence as a jazz player also noticeably infuses tracks ‘Betelgeuse’s Endless Bamboo Oceans’ and ‘Ode to The Pleiades’, attaching another rich dimension to this record.

Maybe he (and it will be a he) should approach ÷ with more of an open mind, because it’s packed full of tunes that have an undeniable quality and mark the point where Ed Sheeran goes truly stratospheric. It’s less ÷, more conquer.

Though it’s slow and brooding, Impermanence is bold enough to employ silence as part of the music.

A record that raises as many smiles as it does questions, The Courtneys channel more wit, fun, humour, and intelligence into The Courtneys II than most bands manage in their entire discography. Go seek it out.

Last Place is an occasionally misty-eyed but very welcome return. A broken but pretty mess.

Largely Uyai stands as a genre meshing oddity which, thanks to its pure groove and spirituality, will appeal to those who haunt the dance floor as well as their own dimly lit bedrooms.

Bold, speculative and profound Impressions is a vital reminder that although we may keep moving forward and putting the negatives behind us, they should never be forgotten.

A strange, lovely and at times genuinely unnerving album that feels like a deep-dive into the subconscious of these hauntology pioneers.

That soulfulness amid the misery is the key to making sense of Spirit.

Occasionally it feels like it veers too suddenly from braggadocio to piety, and it’s questionable whether Stormzy has a sufficiently versatile delivery (he’s no Durrty Goodz) to support this. But by casting his net so wide, the MC is unlikely to disappoint his diverse audience.

It’s rich in intricately layered synths, blending swathes of influences into a more distinctive sound.

Sleeping Through The War strikes the perfect balance of the familiar and the alien to distill 45 minutes of musical opium. Bliss.

They write hooks, they’re inventive, they’re passionate, they can do uplifting and they can do poignant, and on ‘Sick Scenes’, they do it all with panache.

Why Love Now is a brash ballache of an album that will make you hate yourself as much as it makes you hate the world. Rest assured lads, the bar is now slightly higher than it was a week ago.

The album definitely picks up where the previous effort left off, but delves even deeper into the left-field and draws from an ever-growing well of influences and ideas. It is this stylistic exploration that makes Man Vs Sofa all the more intriguing and unpredictable, but simultaneously renders it slightly less accessible than the duo’s debut.

The album tails off after a strong start. Lyrically though, and as a view into Adams’ psychopathology, Prisoner is nothing short of fascinating.

An album that occasionally feels uneven but is executed with such heart, joy and vigour that it’s difficult not to love.

Dirty Projectors [is] a disruption, but a pleasant one at that--it affords listeners the space to grapple with the loss of Dirty Projectors in their previous form, while dispensing enough nurturing, boundary-breaking tonic to ensure that the first run-out for the project's next chapter is shrouded in optimism rather than dissolution, unforeseen obstacles and all.

As a whole, Savage Times is a chaotic, yet interesting album.

The result is a truly thought-provoking, needfully important record.

A mix that has 2017 in its pocket.

Please Be Mine will go down as a hugely self-assured debut offering from one of indie’s most promising new acts.

The Incessant has a wealth of great ideas baked into the sediment of a wholly unremarkable collection of songs but boasts enough personality to still be worth giving the benefit of your doubt.

Forever rushing forwards, Saturday Night isn’t content to sit still. It’s illuminating and infuriating, but never easy to ignore.

An effortless blending and renewed celebration of genres like punk, new wave, techno and hip-hop is all made possible with the inclusion of long time Trainspotting favourites Iggy Pop, Blondie and Underworld and extra additions in Queen, The Clash, Run DMC and Frankie Goes To Hollywood.

Lower Than Atlantis may have already released a self-titled album in 2014, but it’s the follow-up that sounds more like them than any of their other records.

CULTURE may be limited in its scope, but it delivers in spades everything one might have hoped for from “the Beatles of this generation.”