A song cycle that touches on identity, loss, and the path through it all, it’s one marked by maturity and a growing awareness of the potency of her own talents.

Lykke Li seems to have made it work for her.

Tiny Ruins’ effortlessly stunning lyricism and creative cohesiveness mean that ‘Ceremony’ does in fact hit the mark from start to finish.

Kehlani can still be thorny and tempestuous but they’ve also never been more holistic and soulful than on ‘Blue Water Road’.

The vocals on the album are flawless, particularly for tracks such as ‘White Rooms And People’. ‘Outside’, is perhaps the quaintest offering on the album, but is immediately followed up by ‘Be My Guest’, an industrial offering that sends listeners into a frantic dervish.

The sound of a band resurgent, ‘Night Network’ will have you falling in love with The Cribs all over again. Tapping into their core sounds and core values, it finds the band emerging from their legal troubles triumphant, relishing the vitality of being able to make music together, in the same room, at the same time.

‘Laurel Hell’ is a big album that demands to be known, full of indie-pop wonders and most of her most moving ballads yet.

Together, this project might rank as a career high, a work of breathless yet intoxicatingly accessible complexity.

A beautiful recording but an occasional listen.

A world away from his genial role on Saturday Night Television, it’s a 12 strong song cycle that finds Tom Jones doing exactly as he pleases. It’s an extraordinary balancing act, another vital page in this remarkable ongoing chapter.

While no single track quite matches Four Tet's 'Love Cry', it's as good overall as his contemporary's recent 'There Is Love In You'.

‘Good Lies’ displays the strength of brotherhood, solidifying their position within the scene by cherishing childhood’s sweetness.

2009 has seen the emergence and critical success of other techno-pop bands, including The xx and Fever Ray, and Pantha du Prince plays into exactly this sort of intelligent, thoughtful, and in many ways uplifting music.

‘A Written Testimony’ is a biblical album for biblical times, with enough human flaws to make it imperfect.

Fitzpatrick latterly allows breathing space by lessening the intensity to a measly 85% or so; the beats keep rolling to a ubiquitous clatter of hi-hats until you’re flintstoning your dancing shoes and moving Zombie-like to the less than subliminal command of Session Restore’s ‘Speak Out’.

The firm foundation of the songs can be, at times, a little monotonous, a listening experience that not even the more jazzy guitar work can save. That being said, the band still oozes of swanky confidence.

The result is their lushest sounding project yet.

The best tracks on 'Haram' come together with crooked production that twitches with sharp samples and cuts, and AH’s billy woods and Elucid filling the space with pointed flows.

Not only is ‘I Came From Love’ the best album that Okumu has released but it’s one of the finest albums of the year so far.

It’s another marvellous addition to the Father John Misty catalogue, delivered from a songwriter that surely now deserves to be recognised as one of, if not the greatest, of this decade.

A product of its time, it will unsettle and confuse you, and there are even moments that feel poignant. That is why they will be remembered as an important band, and this album a significant milestone in modern guitar music.

We're New Here is a psychedelic atlas with which we can all sonically voyage upon. A great way to start the year.

This is invigorating, wilful and wildly exuberant--and one senses an invitation to collaboration with David Byrne might be in the post.

In context and execution, Songs Of Praise is one of the most daring, scorching, seethingly intelligent, and at times downright funny British guitar albums to come our way in years.

Latin lamentations and oscillating interferences spin sinful tales of transgression and violation, with a flagellating undercurrent of austerity, to create an uneasy, intuitive, idiosyncratic masterpiece.

Her balladry is simple, sparse, unfeigned and unpretentious, and her torch songs smoulder like burning embers.

It’s romantic, existential, frantic, and disorganised, and that ultimately strange mix of tones, genres, and production all adds into a singular esthetic. Nonetheless, it’s hard to ignore its shortcomings, and it is all too easy to rue what might have been, as there are moments of brilliance here that are too often cut short by an unnecessary lull in artistic reinvention.

It’s not a perfect album by any means – I’m still torn on ‘Wretched’, whose anthemic chorus seems a little too eager to please, and ‘Cosigns’ is a little too spartan in its production. Nevertheless, it takes a wealth of creativity and guts to make an album as individual as this.

A record of real depth, ‘Wall Of Eyes’ closes on a sombre note. Distinctive, melodic, and defined, ‘You Know Me’ doesn’t so much pull at the heartstrings as slice right through them, Thom Yorke’s voice dissolving into a mesh of strings. It’s a suitably potent moment to end the record on – poised and suggestive, it becomes a bridge from one phase, to something as yet uncharted.

This album is purposely ambiguous. By omitting such boundaries, it offers a storyline recognisable to everyone. Love is universal!

The pacing can get interrupted somewhat by the sheer amount of skits on here, and a Jay Sean featuring ‘Any Day’ slams on the brakes mid-album, but other than that this is a tightly packed, lightning-quick swing at the racism of British society. Riz Ahmed might now be more famous for his acting, but he’s been making music since he was a teenager – and on this album, it shows.

'Few Good Things' picks up steam with 'Still', a reflective collaboration with 6lack and Smino, climaxing four songs later on 'If I Had a Dollar', the most melodically ambitious and emotionally evocative song on the album.

Futurology is the Manics doing what they do best, with added Krautrock, Georgia Ruth and Green Gartside.

A raw snapshot perfectly designed to capture the ugliest sides of Britain, it’s obvious that the duo is happy to knock at our doors once again. There’s an ongoing need for this portrayal of relevant topics, and their sharpness and humour are as strong as ever.

Those that are used to their favourite tunes packing an immediate punch may be left disappointed, but the time spent ruminating has clearly served them well.

A project that demands to be listened to in one sitting, there is an immersive quality across the tracklist that instantly strikes through. Each track is submerged in a nocturnal wash of acoustics, playful in its use of distance, textures and melody.

It’s true that Lianne La Havas does lull in places, and the vocals do rescue her from a tight spot on more than one occasion, but you get the sense that this is a record which you really have to live with and invest time in before you’re lucky enough to appreciate its myriad charms.

This album is an entirely immersive wall of sound that deserves to be listened to time and time again.

It is what it is: a passionate, purposeful and wonderfully presented collection of combustive rock songs.

As with the twin EPs that preceded it, however, the glimpses of originality strewn across ‘Lovegaze’ are too often sparse islands in a sea of pleasant but generic etherea.

While this is by no means Let’s Eat Grandma’s masterpiece, it’s a welcome development in the journey of an endlessly fascinating band.

For the most part, all 10 tracks are jam-packed with energy, and captivatingly so.

Overall, this is undoubtedly Niall Horan’s finest and most mature album to date – and was certainly worth the wait.

In the end, ‘Work Of Art’ is fun and eye-catching, but you’re left thinking that more depth will surely come as Asake evolves into his place in the top tier of international music.

Reflective, intuitive and introspective, ‘Collapsed In Sunbeams’ is an immensely gripping debut. With no features, Arlo holds her own across all 12 singles and sets the bar high for those who follow.

‘Cheat Codes’ is Black Thought’s most complete project to date.

JID’s latest release is a wonderful insight into the rapper’s formative years, and ultimately through the introspective manner allows for an enthralling listen.

Drone Logic has peaks that dwarf its troughs, though, making Avery’s brave debut worth buying for its four best tracks alone.

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

One of our greatest living guitarists has conjured up something truly special.

Daniel Knox is a storyteller who paints a picture with his colloquial descriptions and his deep, husky voice adds an authoritative presence in ‘Won’t You Take Me With You’.

His latest LP is an endearing collection of slow-burning, dreamy arrangements, which find the singer wistfully contemplating the shifting nature of identity.

Another sign of the creative ripples emanating from London’s jazz underground, There Is A Place features some stunning playing with an abiding awareness of the power music can hold.

‘Miracle’ delves the depths of human introspection with a tangibly cathartic gleam, imbued with an essence of that wondrous beauty that only miracles can possess.

The downside to the album is to appreciate it properly you need to play it front to back, no skipping. Whilst paying attention. This isn’t something to play in the background. You need to concentrate on it.

An excellent return.

A long time in the making, Royksöpp have birthed an engaging, expressive multimedia universe suspended in digital mystery, a sum of many components meticulously executed. ‘Profound Mysteries’ truly captures the imagination.

If it’s a stopgap between albums, so be it, but I’d wager Blue And Lonesome will stand out as more honest, more rousing and more representative of The Rolling Stones as septuagenarians than anything that might follow.

Many have already been drawn into the melancholy whirlpools of their past two albums; yet more will surely be drawn by the warmer embrace of Legrand and Scally’s latest statement, a stronger, rhythmic definition offering a hand through the ether, beckoning the listener into their fluid tapestry.

On her third album, the Irish folk singer has created a record shrouded in mysticism and mystery – that carries the listener far away from lockdown life. The star of the show is Power’s vocal.

Brighter and airier than a lot of corona art, it might also be also more enduring. It’s a collaboration that invites listeners along for a ride between a now- distant musical past and the present.

Twenty-seven years on from their formation, their ability to convey the spectrum of both emotional and political feeling through the raw power of music remains unparalleled.

Marling has transcended the nu-folk movement and carved her own magnificent identity.

Despite its originality and powerful execution of atonal techniques, it is too tonally diverse to function properly as a separate entity from its corresponding film. Do yourself a favour and go listen to it in the cinema.

While it doesn’t quite have the same urgency as ‘Based on a T.R.U. Story’ or ’T.R.U. REALigion', Pretty Girls Like Trap Music is perfectly positioned to be a 2017 favourite catering to both fans of this generation’s trap music and those that were knee deep in trap during its late ‘90s/early ‘00s inception.

The three work well as a collective: Chip provides the cut-throat and fresh bars, Adz comes with the melody and Skepta is free to experiment throughout. The beats stand up too, consonantly switching patterns and breaks and bringing the best out of each artist.

And so it brilliantly goes. ... These are classic Sparks moments, full of comedy, clever wordplay, deft explorations of all the myriad issues of the world, with arrangements that sound as current and fresh as a dew-soaked spring daisy.

Raw, real and humorous, ‘All That Glue’ is an important event delivering a conclusive overview of the duo’s achievements and successes at a time when there’s a real thirst for it.

An artist who scarcely slows, Andy Bell offers a fine blend of psych-pop, folk finger-picking, and home made electronics, all within the familiar confines of his shoegaze day job. More, please.

It’s a truly delightful experience that delights in its unexpected and uncompromising approach to positivity. The art work and overall feel of the compositions may speak to a chilly, typically Nordic solitude, while the music of this record is anything but. A late year treasure that shouldn't be overlooked, it is as timely as it is timeless, and as needed now as any musical work of the last year or so.

‘Young Shakespeare’ is a fascinating artifact. Before ‘Sugar Mountain’ he says he’s 25 years old. Imaging being 25 and knowing you have another album, pretty much, ready to go and teasing audiences with snippets from it? It really does boggle the mind. The album is another flawless release which sees Young digging through his live recordings and releasing albums of interest.

He sounds freer than ever. ‘The House Is Burning’ subverts expectations. ... Rashad’s music is like a sonic encyclopaedia of Southern rap reference points.

Continuing to give airtime to these softer, more playful moments could see Showalter achieve greater success in mainstream circles.

IDLES' fourth record in just as many years is their most ambitious, most introspective, and most powerful to date.

‘Bubblegum’ is the most creative, well-thought-out and simply fun project to come out of the UK alt-pop scene in quite some time. Biig Piig continues to improve, every release getting her closer and closer to the stratosphere – and even that won’t stop her rise.

A conceptual album which feels honest and authentic, ‘Drop Cherries’ showcases the best of her musical ability while being lyrically complex – it’s another strong record for Billie Marten to add to her repertoire.

No less inviting than their debut, while asserting its own identity at every corner, ‘O Monolith’ is a fine second album.

The resulting record leaves the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

When We All Fall Asleep, Where Do We Go? is a brave and fortuitous debut album from the LA teen, capturing the hopes, fears and vulnerabilities of an entire generation. The genius in this record is its unaffected relatability.

‘Cousin’ is the perfect entry point for those who have inexplicably escaped the shadow of the Wilco’s influence to date. Showcasing all they do best it is also unique enough to stand as one of their finest moments.

Ultimately 'Saves The World' is a bold, colourful, lyric return, one that is asserting while remaining utterly honest, completely true to themselves.

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.

Worthy of comparison to the late career stylings of Björk, Plunkett’s vocals often steal the limelight but, make no mistake, this album is considerably more than the sum of any individual part.

One of the songwriter’s most overtly gorgeous works, it finds Panda Bear easing into new ground while maintaining his near effortless melodic touch.

A mix that has 2017 in its pocket.

Charli starts and ends with hard disorienting club bangers, leaving the middle of the album space to expose her tenderness and vulnerability while still retaining her futuristic, unpredictable sound and penchant for an irresistible pop hook.

Still flaunting in the grunge realm, the overall result is tough, yet accessible, including some deeper moments.

GoldLink refuses to be one-dimensional here, offering up his dynamic and improved flow, as well as the vulnerability and edgy appeal that bubbles up throughout this project.

If Hynes had truly wanted to create an album about black identity as opposed to his own identity, he would have included the powerful ‘Sandra’s Smile’ and focused on the matter across all 17 tracks. He would have made a record dedicated to togetherness rather than individuality and it would have been equally excellent. Instead it becomes an underdeveloped aspect of what is otherwise an expertly tailored and politically-charged work of pop.

Sigur Ros’ world-building abilities haven’t been dulled by a decade of group inactivity – each moment is laden with colour, and mood.

Herring’s growling vocals prevent proceedings from becoming too gloopy or nostalgic, and make Singles a new-wave treasure.

A new listener to Everything Everything may not be fully converted, but the synth-pop twinkles coating this record freshen up their sound.

With Qualm, Helena Hauff has created the record we both wanted and needed. It’s a statement of romantic infatuation amongst an otherwise hash, twisted and raw landscape. A glance into the past and a look to the future. There is nothing apologetic about this record, and that’s what makes it so great.

A work of quite singular intensity, it leaves a lasting impact.

It is unmistakable that this album has been crafted with the consideration of Chloe Moriondo’s distinctive humour making the album an exceedingly fun listen.

An attempt to filter out the parts that truly matter, it’s a triumph, and perhaps the finest album yet in his storied career.

Not revelatory, then, but there’s enough on ‘The Theory Of Whatever’ to underline Jamie T’s status as a vital force within British music.

‘Living Human Treasure’ is a wonderfully exciting and enjoyable album. Italia 90 have and axe to grind and grind it they do.