It's easy listening, while thankfully having nothing whatsoever to do with the much-maligned genre of the same name--and the sort of fascinatingly layered album that appears demanding and austere from the outset but is in fact home to a set of beautifully realised songs.

A fantastic release, ‘SICK!’ pushes Earl Sweatshirt into a new chapter of his work, while adding further context to what has come before. The production work is impeccable, its dizzying imaginative flurry the perfect hinge against Earl’s lyrical precision. Short but emphatically creative, it presents an entire universe to explore, with its finer details laying in wait for repeated listens.

Self-possessed and uncompromising, this is a record with regal bearing.

It all combines to create a record that asserts Horn as an incredible and innovative talent both within the folds of folk and also at the forefront of the genre.

She’s broken the curse, she’s woven a spell--and the self-described ‘luckiest little Scottish witch in the world’ is safe to cackle back off into the night, having created possibly the best album we’ll hear all year.

Badbea is a key part in Edwyn Collins’ remarkable solo career, one that has defied critics and doctors to wilfully do its own thing. A rich, vastly creative experience, it’s a further sign that Edwyn’s work remains something to treasure.

Beautifully accomplished, ‘Weather Alive’ stands as an imposing career-high by a fine, fine songwriter.

Although uncompromising in it’s vision and delivery, Stranger To Stranger ultimately, serves as another fine testament to Simon’s craft and ingenuity as a songwriter.

‘Mr Morales & The Big Steppers’ is one of his most profound, complex, revelatory statements yet, a double album fuelled by sonic ambition, the will to communicate, and Kendrick’s staunch refusal to walk the easy path.

She's brilliant, sometimes inspired, and this tenth studio album finds her gifts undiminished.

This isn’t just a Greatest Hits set, oh no, throughout Young and Crazy Horse throw out hidden gems and deep cuts. ... Again, though, we return to the question “If Neil had this and ‘Homegrown’ in the vault, what else is there?”

‘12’ is not an album to take lightly. It is an album to listen to intently as often as you can. With each listen you learn something about what it takes to be a great artist, Ryuichi Sakamoto is a great artist, but it also teaches us not to take things too seriously because one day it could all be over.

While one of her least immediate records, it stands as one of her most rewarding.

It’s a record about growing up, and playing it straight; a more open, rounded experience than we’ve come to expect from St. Vincent, it’s a brave, fascinating record.

The product of producing something so relatable that people find solace where you once only saw pain. Sack off therapy, just stick this on.

The human condition and thus society is complex and difficult to navigate but Sprints have not been afraid to express uncertainty and vulnerability. And all the while they have enveloped these themes in the most glorious noise for us all to find comfort and lose ourselves in. Is it possible to have an album of the year contender on only the first week in? Of course it is.

Iridescence feels like Brockhampton have regrouped musically to create a great, if not perfect, representation and platform to build on.

ZUU is an experience that transports the listener to a specific time and place. ZUU is further proof that Denzel Curry is one of hip-hop's most interesting and progressive MCs.

Lyrically ‘All My Heroes Are Cornballs’ feels very stream of consciousness full of political commentary, the concerns of living in American 2019, whilst being engaging, humorous, and informative.

Sleep Well Beast is an album that rewards repeat listens and unfurls its beauty slowly over time: The National have yet again made an album that’s as brilliant as it is ambitious.

With both music and curation straying into increasingly beguiling territories The Lost Tapes is as delightful as it is overwhelming.

A project with literally no skips, ‘Fire’ seems to lay down a marker for his peers – The Bug is back, and the bar has been raised yet again.

The band are effectively building and complexifying their sound to keep things fresh. 'Comfort To Me' sounds like it could be played in a rowdy Australian pub the band are used to – or a colossal arena.

Unsettling at times, with moments of quiet intensity – ‘Geist’ is the vulnerable soundtrack to a person’s self-discovery during a period of long, hard reflection.

We have no right to expect a band to make a record this strong and vital almost three decades into their career. It’s full of piss and vinegar, but it’s full of desire, regret and love, too. Whatever the dismissive album title may tell you, Arab Strap very much still give a fuck.

I See You is perhaps the bravest album of the band’s career, the one laden with the most changes, with the most prolonged journeys into the unexpected. Yet it also feels resolutely like The xx.

As a diary entry, defined by dark nights of the soul and cast in the same bluish-purple hues, ‘Midnights’ offers little of revelatory purpose to those who have yet to succumb to Swift’s charms. For those already swayed by her craft, however, it may reasonably go on to be recognised as her best album to date.

On OCHL they’re keen to take risks, side step that familiar territory and play with the formula. That consistent need to innovate and grow is what makes Deafheaven so divisive, so unpredictable and so extraordinary.

Wistful and plaintive, solemn yet blissful, these are songs from another time - if not another planet - and their mesmerising melodies have the powerful ability to transport you, temporally and spatially, into the band's anachronistic, peaceful, eternal summer.

Every Baroness album before this has featured huge shifts in style, this being the one where they take the best of each to create a propulsive, thrilling whole.

Aromanticism is style over substance, certainly his sentiments run the risk of evading the listening, such is the beauty of the dreamscape he weaves. Yet as you revisit the record, the case for being ‘aromantic’, has never sounded so fully realised, so complete and so utterly inviting.

Le Bon’s finest moments bypass rational analysis in favour of radiant gestures. We should welcome them during these colder days.

Although this first effort can be seen as the bridge between some of her collaborators, such as the projects of Wallows and Dominic Fike, Wolf is in her own universe, creating a new style of artistry that will inspire many others for the years yet to come.

Shellac, across 28 minutes of beat-em-up mutant rock, are on fire here, the six-legged noise beast dependable as ever. ‘To All Trains’ showcases a rock band who get every single thing about being a rock band absolutely correct.

It’s often difficult for pop-punk bands to bring something new to the table, but in ‘Model Citizen’ Meet Me @ The Altar have completely out done themselves.

Yet beyond this wired mix of post-punk anxiety, splintered techno elements and haunting soul samples, it’s Danny Brown’s rhyming ability that ultimately sees the LP flourish.

Semper Femina matches Laura Marling’s personal quest to unlock facets of her identity echoing with the wider struggle to clear a space for the feminine voice within society itself. With a triumphant new album it seems that this songwriter has found a room of her own.

This is really an album about empathy, and feels incredibly necessary today.

Smother does exactly what it suggests but with a poetic fragility and an exacting panache that enthrals and entices like never before. An essential album.

‘Good News’ is a triumph, and a late contender for Album Of The Year.

Its brevity might lead some to think it slight, but those who persevere with ‘Seeking New Gods’ will find yet more evidence of Gruff Rhys’ undaunted off piste genius.

‘Melt My Eyez See The Future’ finds Denzel Curry sitting in a lane of his own. A unique, unified experience, it’s a boundary-less work of endless fascination.

Though the days of the jangly, innocuous Britpop they were so integral to establishing are gone, Suede haven’t lost their roots – they’ve just re-established them for a new era.

If they’ve perfected the modern pop template associated with acts like SOPHIE (on production duties here) - and they have - it’s somehow not the most impressive element of the record. The second half of the album includes a pair of breathtaking epics, ‘Cool & Collected’ and ‘Donnie Darko’, that showcase a songwriting maturity well beyond their 18 and 19 years.

It finds Fontaines D.C. moving ever outward into a realm of their own. Powerful and probing, ‘Skinty Fia’ is a record that relishes tough challenges, and refuses simple answers.

It's a strong and accomplished debut, and Jessie Ware has provided the missing link between SBTRKT and Sade. Whether you think that's a good thing is your call.

‘Year of Love’ opens the record with a palm-muted guitar riff, unexpectedly, and from there ‘Classic Objects’ blossoms into classic Jenny Hval, ‘Cemetery of Splendour’ and ‘Jupiter’ forming its plain, heavenly, skyscraping highlights.

A remarkable return to form by one of rap’s finest wordsmiths, it’s Pusha’s most focused and cohesive solo effort to date, and one of hip-hop’s strongest long-players of 2015.

A beautiful outing in hauntingly pastoral heartbreak. Impressive.

Multitude is the perfect return for such a formidable musical talent, serving not only as a reminder of his innovative talents, but also highlighting how much richer his soundscaping and storytelling has grown over his hiatus.

The duo have created something extraordinary here - something that definitely needs to be heard.

Far from dipping into past glories, the Mael brothers continue their storied run on a stylish, impactful record that illuminates their continued engagement with the wonder of the pop song.

Elaenia is one of those rare albums that crosses genres and audiences with ease due in thanks to the sheer craft that's gone into its seven tracks.

The friction between these two worlds is rife throughout the album, creating moments of explosive hyper pop euphoria (Bites on My Neck) and complete emotional vulnerability and devastation (Friendly Machine).

A stunning work of self-analysis, it’s Jamila Woods’ finest record yet – high praise in itself – one of the most absorbing, illuminating records you’re going to discover this year.

Once again I am moved with the delicate care Gia Margaret approaches her art with, something of a prayer and an anthem to the sovereignty of unraveling, longing and finding.

Misty keeps this album pretty genuine. There are jaunts and horns and dancing mixed with sorrow and piano and heartache; his lyrics cutting through any joy with wicked humour and his comic persona still second place to his incredible songwriting.

A raw, primitive nod to the planet we inhabit and our connection to it.

It’s evocative and like much of Empress Of’s entire discography, it’s a reconfiguration of laptop material and pop expectations. It subverts heartbreak, makes it sexy, and silhouettes a continuous desire to distort dancefloor traditions with experimental come-ons.

‘Fir Wave’ is a subtle triumph, a record whose innate beauty dissipates to reveal complex aesthetic machinery, while never fully revealing its secrets.

‘Coral Island’ is huge in scope and ambition, while also remaining staggeringly consistent. The bar is set high from the off, and they never fail to reach it. A lazy comparison: it’s as creative as ‘The White Album’ and as unified as ‘Ogden’s Nut Gone Flake’. A truly superb experience, it feels as though The Coral have painted their masterpiece – a one way ticket to ‘Coral Island’ is a truly an offer you can’t turn down.

A powerful album, confirming Home Video as another exquisite offering from Lucy Dacus.

To hear someone so comfortable in their own creative process, binding the childhood inquisitiveness that’s never left them to the artistic confidence that they’ve developed over more than three decades, is a delight and a privilege.

Ultimately The Impossible Kid is an album that will reinforce whatever preconceptions about Aesop Rock you already hold. However, it’s also worth noting that this is most probably the least cryptic and most honest of all his records.

‘This Stupid World’ is another wonderful instalment in their extensive catalogue.

Thankfully, they’ve saved their finest ideas for Tomorrow’s Harvest, which burns as brightly as anything they have accomplished thus far

These are songs for songwriters, beautifully constructed and realised--after a full rotation, it'd be difficult not to fall in love with this album.

Something about the songwriting on ‘This Is Why’ are undeniably the most something, Williams both elegant and sandpaper-coarse, depending on what is called for.

A fabulous album, confirming St. Vincent's status as a deeply talented artist.

Ecstatic Arrow is kind of the sonic equivalent of the Barbican Conservatory, with its juxtaposition of undulating concrete and myriad verdant plants from across the world. And if you’ve ever been there, you’ll know it’s a very pleasant space.

‘MONTERO’ excels the marketing spin by delivering one of 2021’s most daring, riveting, and honest pop statement.

Deafheaven have managed to craft a lengthy, complex offering that could be considered the antithesis of their lauded second album, but also proves to their doubters that they're here to stay.

With this expertly curated and brilliantly sequenced collection, BadBadNotGood have demonstrated that there’s still life in the compilation, and have shown the benefit of getting professionals on board to create them.

‘I Don’t Live Here Anymore’ sees no severe changes from the Grammy award-winning 'A Deeper Understanding,' but does make for a more nimble listen, the track's shorter running time creating a tauter experience.

This album is not for everyone. It’s not an easy listen. At times you think “Why am I listening to this? Is it even any good?” and feel like turning it off and trying something more conventional. However, if you are game enough and persevere with it you will be rewarded, as ‘Aura’ is an absolute delight once you let it under your skin.

Phoebe Green explores and elevates her creative visions with ‘Lucky Me’, with helping hands by some of pop’s most innovative producers; Kaines and Tom A.D as well as lead producer for the album, Dave McCracken.

Moving further than ever from the sound of those initial solo albums, he seems to constantly reach out to new definitions. It doesn’t always land, but it’s incredibly brave; it also needs more than a few listens to truly absorb, and accept – on first listen, this writer couldn’t understand it at all.

Miss Universe is an intimate record full of personal fears and emotions, but these are of wider, universal relevance. They should resonate with us all.

Beyoncé’ is one of the best damn albums of 2013, basically, however you’re looking at it: as an R&B record, a pop set, an electro collection. Whatever your tastes, you can’t question the quality here.

This offers an unparalleled listening experience. Each quality – the gorgeous vocals, the radiant tones, the graceful guitar – manifests enlightened bliss. The expertly blended transitions between each track transform them into puzzle pieces that fit smoothly together.

This album serves up Summer Walker’s best work yet. It’s brutal, yet romantic, it’s fun, yet flirty, it’s everything any listener could be wanting. A rollercoaster of emotions and she’s not even finished yet.

‘Evermore’ wholly offers more conviction, without sacrificing the vulnerability that enamoured even her biggest critics earlier this year.

Fans of Depeche Mode can be happy to receive the band’s best offering of this century (though don’t get it twisted, ‘Playing The Angel’ is still a great record) but it’s unlikely they’ll change the minds of non-listeners, as foolish as such people are. The same ground is tread here, just in new shoes.

Occasionally, the lyrics wander into cliché but for the most part, it’s a strong addition to a stellar body of work and another welcome showing from one of music’s most consistent and underrated performers.

As faithful as these songs might be to their back catalogue, OMD have never been ones to repeat themselves, and everything here shines with an intense and neon-lit originality.

The accompanying DVD features an early performance by this line-up, which is a mildly diverting if sonically unspectacular curio alongside a still largely splendid record.

Fans of Father John Misty, First Aid Kit and Sharon Van Etten are likely to be enamoured.

Element, and devoutly ambitious, it’s a record to be absorbed at its own pace.

A dance party to release your demons to, they cast yet another lyrically beautiful and musically capitulating spell.

Any Human Friend is powerful, sexy, and self-assured - pretty much exactly what we expected from Marika, but even better.

While Loop The Loop isn’t a retro record, neither is it futuristic; it’s not a singer-songwriter album, nor is it an electronic beats record. One thing it does qualify as though, is a hugely enjoyable debut album.

Starmaker is a joy from start to finish. Together, each song on this debut album supports Honey Harper’s ambition to bring his cosmic country into a wider setting and he does it with currency and aesthetics.

Self-consciously designed to echo a transformative lysergic experience, ‘Yellow’ comes to embody everything Emma-Jean Thackray strives towards, and describes: you emerge in a quite different space than the one you entered in, the world around you subtly transfigured.

It’s a project that requires time to sit and grow with its listener, carving a new path after each and every run.

Subversive, non-conformist and melodious, this record has the credentials of a classic rock and roll album. The decision to take a radical approach only works for the few, the possession of ammunition that’s needed to master such a challenge is not for anyone. Fontaines D.C. have it.

On her third album, the view has swung from microcosm to breathtaking panorama.

If this is Spiritualized’s last – and Pierce hasn’t fully rowed-back on that threat, given his lucubrations drove him “crazy”--it’s a very satisfying denouement. If not, it’s still a stellar addition to the Spiritualized® catalogue, matching the vitality of ‘Songs in A&E’ or the richness of ‘that famous one from 1997’, even if it doesn’t say anything especially new.

Arab Strap are back with a vengeance. And it’s fucking glorious.