As good as her earlier folk-rock songs were, this new direction is one that suits Rose extremely well.

Skepta and UK grime’s resurrection has been one of the most exciting musical sounds of the past few years, and rather than being the climax, you get the feeling that Konnichiwa is just the start of something special.

This compilation, the fourth and possibly final in their Switched On series, collects some of the various EPs, compilation tracks and tour 7″s they made between 2000 and 2005, along with some deep cuts that stretch back to the Mars Audiac Quintet era and proves the critics wrong.

Tempest is a flawed but mostly fascinating album.

Whole New Mess has a lot to carry on its shoulders – and carry it, it does. This is a superb album, and a more than worthy companion to its sister.

Lovelorn, honest, poignant and emotional in the best way imaginable.

Love could only have been made by someone who knew this music inside out, who has nurtured, cherished and polished it since the day it was composed, who saw its potential in an era when pushing rock'n'roll past it boundaries was a new art form.

Until The Quiet Comes is at once iridescent and ambiguous, luminous and impenetrable: an elegantly conceived and executed album which may well come to be seen as Flying Lotus' finest work to date.

With Pilgrimage Of The Soul, MONO have given us an album that can confidently stand alongside As The Love Continues and G_d’s Pee AT STATE’S END!

Foil Deer isn’t an easy listen but it is a compelling one.

Attack On Memory is a short, sharp shock to breathe life into the currently rather lifeless genre of indie-rock.

They create a mood and atmosphere that's certainly unique, but one in which very few songs stand out, despite some fine moments.

A whirling dervish of an album, and a culmination of all their previous hard work, Nonagon Infinity is the sound of a band at their wigged out best.

A varied and largely successful meeting of minds, this is peer-review done right, and the prospect of it influencing future solo outings from Case, lang and Veirs is golden.

Gargoyle is yet another fantastic album from Mark Lanegan, and one that points to a new path.

In a decade dominated by rappers who obsess about their cars, clothes and women, it's nice to be reminded that MCA, Mike D and Ad-Rock are still out there, keeping it fun despite all the haters.

Ill Manors is visionary, it's bold, but most importantly it's very good.

Ultimately, there is no getting away from the fact that WMABMT is a remarkable album. In fact, it is hard to think of anything else quite like it.

Unflesh is at times a disturbing and upsetting listen, but it is also a triumph of will over circumstance.

There’s not one dud track on it, and each listen unveils something new to hear. Most pleasingly though, in these dark times, is that it’s a whole heap of fun. 2018 may be only a few months old, but we may have its album of the year already.

Skying feels like a watershed of sorts for the band, because if they now want to be seen as more than creators of masterful records, the whole package will need to reflect that brilliance and artistry.

An album that’s up there with their best, one of their most powerful and cohesive statements to date.

A moody yet romantic triumph, The Defenestration Of Saint Martin is far better than anyone could hope to expect from a long-dormant Britpop survivor.

This album is the full realisation of his talent as a bass player, musician and, most importantly, a songwriter. Apocalypse is, in short, a supreme triumph.

Their incongruence makes neither any less brilliant. So powerful is its imagery, and so timeless is its presentation, Lisbon is sure to join High Violet on any shortlist of the most memorable albums of 2010.

This is some of the most welcoming music Gang Gang Dance have ever pieced together – less diffuse but still rewardingly complex, without any of the clutter that could occasionally overwhelm less patient parties.

At times Pick Me Up Off The Floor feels like a welcoming musical refuge. It’s an intimate, empathising support mechanism of an album, well-placed to respond to the emotional needs of listeners during these turbulent times.

This is as close to the spirit of punk as you’re likely to hear this year (or any year).