Whether that’s awards, recognition, or simply her own joy, her music definitely proves that the innocent Ray BLK of before is gone forever. Although the album is called ‘Access Denied’, Ray BLK has granted us the first glimpse into her rebirth, and we’re ready for the ride.

The production alone is noteworthy, painting a portrait of richness and precision that highlights Beyoncé’s peerless vocal range. .... It’s an undeniable thrill to see her swing so big on a project that dares her to be so intimate and vocal-focused, while making way for country’s up-and-comers too.

This is a beautiful album, informed as much her bold experimental music as by her golden age pop forebears. The record ends where it began, but Natalie Mering continues to push tirelessly and boldly ahead.

‘Carnage’ is arguably Cave and Ellis’ best record since The Bad Seeds’ latter day reinvention on 2013’s ‘Push The Sky Away’, or maybe even ‘Abattoir Blues’. It’s certainly two master craftsmen at the peak of their melodramatic powers.

It’s a rudely excellent album, introspective without ever being indulgent, OTT in all the right ways, honest and brave, full of brilliant songs with lyrics to chew over for months.

Two Technicolor explosions of creativity that people will be exploring, analysing and partying to for years.

Ultimately Hadreas has, with this album, proven his own hypothesis: you don’t necessarily have to blow things up to move forward.

It’s not an exercise of rethinking and tweaking old songs, but to take back ownership of her own music. The production here is a little sharper, with the instrumentation being brought further into focus.

'A Grand Don't Come For Free' is proof that 'Original Pirate Material' wasn't a happy fluke.

Yes, ‘The Myth Of The Happily Ever After’ outshine its predecessor, but it could also – ironically – be the most cohesive Biffy album to date.

There is little Beyoncé has to prove to anyone 25 years down the line, but the start of this “three act project” proves that she’s still able to push herself and delve into new sonics, styles and ethos.

The gear shifts can be jarring, but album four is actually more cohesive than it has any right to be, a fact its creator has attributed to her common thread of influence in Stony Island Arts Bank. Horns up: Corinne Bailey Rae has thrown the musical curveball of the year.

Having stripped away the narrative cloak that shrouded the highlights of ‘Stillness In Wonderland’, she’s crafted a knockout record--and finally come true on her early promise. This is the best rap record of the year so far.

A brave, ambitious and nuanced album that looks to lead the band’s fans down the rabbit hole on a new, macabre adventure. Turning their backs on their punk roots was a gamble, but it’s paid off.

Her ambition is flabbergasting, let alone that she executes it with bundles of fun and a fizzing personality.

To say this album is epic would be an understatement; it’s a work of art in the truest sense.

‘Blue Weekend’ is another stone-cold masterpiece that further cements their place at the very peak of British music.

It works as a display of real power, range and versatility – all of which Rodrigo possesses in abundance.

Simply put, Strokes have every quality rock'n'roll requires from its finest exponents and Is This It is where they come together.

‘SOS’ is just that – a phenomenal record that barely puts a foot wrong and raises the bar even higher than she set it before.

It may sound simple but it's devastatingly effective.

It’s his masterpiece so far; a staggering collection of unspeakably precious music.

One of Sufjan’s most fat-free and consistently stunning records, but also his darkest.

It’s heavy, assured and profound--a terrific record alone, but also one that sits in the Sleater-Kinney catalogue naturally, like they’ve never been away.

What it most successfully captures is stasis, and an undercurrent of anxiety around what lies in the future. The LA songwriter’s ability to paint this lingering feeling of dread so vividly is perhaps the biggest factor in her rapid rise to cultish indie household name.

‘Now That We Don’t Talk’ is the Vault firecracker. Not only does it fizz with ‘80s influence, but Swift’s versatile, honeyed vocals are stellar. .... The sweeping, evocative storytelling of ‘Suburban Legends’, meanwhile, calls back to the evocative detail of Swift’s previous eras, including mentions of mismatched star signs, class reunions and a ’50s gymnasium. ‘1989 (Taylor’s Version)’ feels more symbolic than her previous re-releases.

Seriously brilliant stuff. ‘Send Them To Coventry’ promises that Salieu is unbelievably gifted with a ceiling nowhere in sight. He carries the entire mixtape with his singular voice oscillating between conventional rap flows, dancehall toasts and ice-cold venomous lyrics.

By turns dark, funny and heartbreaking, the songs on 'Original Pirate Material' are snapshots of ordinary life as a young midlands resident, set to innovative two-step production.