This is very much a post-Stormzy, post-Skepta, post-Drake-going-roadman album, and an important stepping stone along the path to the UK establishing itself as a bona fide world-beater at beats and rhymes.

Sonically, the production is as flawlessly genre-spanning as Lizzo herself: pop at its core, but with constant references to her jazz roots and historical love of twerking.

It’s another glimmering triumph from the counterculture great.

So, business as usual then; SFA have made another enormously enjoyable record, but one that is unlikely to ‘do an Elbow’ and suddenly make them a serious mainstream proposition again.

This music is the electronic, Warp-inspired answer to Brian Wilson's 'Smile.' [31 Jul 2004, p.41]

Whereas Mogwai’s more recent work threatens to make a formula familiar, Fuck Buttons’ fizzling DIY laboratory still has the invention and ingenuity to surprise.

He expertly delivers gang stories with such authenticity that no wonder he’s still loved in his hometown. With ‘Vince Staples’ Kenny Beats has helped Long Beach’s finest release another spectacular record – even if it’s a slow-burn.

Josef K's candy-striped take on post-punk isolationism sounds both ancient and modern. [18 Nov 2006, p.31]

Our Love, then, is the moment it all came together for Caribou.

From the crisp, hip-hop accenting on the drums to the full-bodied bass and vivd synths, Currents is an audiophile’s wet dream.

You never know quite what’s about to happen, but no matter which sonic mask the band slip on, they sound terrifyingly comfortable wearing it. This unpredictability is what makes Code Orange and ‘Underneath’ such a thrilling listen.

Liars’ most refined and accessible album has emerged.

Much like the title of his debut, Indiana’s curious ringmaster Stith is a contradiction in terms. Don’t be put off--he’s a contradiction worth losing yourself to.

Charli’s second mixtape of the year isn’t just about proving she’s more than your average pop star, but about her settling into her role as innovator, celebrator, and curator supreme.

Showcasing the eclectic Tinashe many OG fans first loved, ‘333’ gives off the same energy as early mixtapes such as ‘Black Water’ and the aforementioned ‘In Case We Die’, reminding us of the singular artist that Tinashe is and always has been.

Both musically and lyrically, this is Clairo doing what she does best – crafting gorgeous jewels that help you make sense of your own world, one step at a time. ‘Sling’ might take inspiration from classic songwriters of yesteryear but, decades from now, it will be Cottrill whom our future artists hold up with similar reverence.

Joey Burns and Paul Niehaus from Calexico take part on 'The Shepherd's Dog,' dovetailing neatly with Beam's vividly personal lyrics and ear for gentle, haunting melody.

Kelela has crafted a cool and sensual album which feels cohesive without slipping into saminess.

Again, he has made another record that will stay close to the hearts of a generation of rap fans. He is surely our generation’s Lil Wayne.

His skill rests in the realisation that you can't airbrush soul: so, instead of smoothing rough edges, these cuts of cyborg funk fidget with digital tics and gasps. [11 Jun 2005, p.67]

With ‘Songs’ and ‘Instrumentals’ – the first comprised of acoustic singer-songwriter ditties, the latter a musical sound collage with no vocals – Lenker fashioned timeless, tender snapshots of grief that are grounded in healing.

The more experimental and unsettling elements will reward longtime stans, while recent converts will be just as thrilled with its party-starting exuberance. What’s universally clear, however, is that 20 years into his career, Snaith has found the perfect balance between intimate songwriting and extroverted sonic decisions.

As an exercise is sounding totally, defiantly alive, it is a complete success.

If ‘Dust’ was Halo’s sprawling, lush, wildly diverse ‘Life of Pablo’, then the sparse, introverted ‘Raw Silk Uncut Wood’ is her ‘ye’, the sound of an artist regrouping to test new boundaries before she forges ahead once again.

Boygenius’ lyrics are so strong, you could close your eyes and skip to any point of any song and find yourself being wowed in one way or another.

This is a gorgeous album, but sacrifices had to be made. They’ve undeniably lost something that made them special in the first place.

It’s the most sophisticated project yet from a preternaturally talented vocalist who keeps getting better. Whatever you take away from it, ‘Eternal Sunshine’ definitely isn’t an album you’ll want to wipe from memory.

A veritable swoon of a record. [7 Jan 2006, p.28]

What saves this record from being another wallow in the misery of post-fame existence is the music.... 'We Love Life' is a grandiose, symphonic affair buoyed by succinct orchestration and white-light choral interludes.

A record that anyone who’s ever demanded anything interesting from rock music should hear.

With features from current genre dons Devlin, JME, Frisco, Flowdan and, of course, Skepta, it feels like a celebration of all grime achieved in 2016.

Their vision remains a bleak one--but it makes resistance sound holy, and love sound like a revolutionary act.

For 37 rollicking minutes, they give it the full gun, meeting the challenge of being the biggest garage rock band in the world head-on.

Of late he’s adopted a sweeter, eddying Americana, and Dream River takes a turn to lush country-soul.

This is an album of extremes, but they’re all bridged by bold and fluid movements of an artist refusing to be either man, woman or victim--always the hunter.

Genres may come and go, but Sawayama’s second album is defined by her ability to fashion each of these sounds into big, brilliant pop songs. The best British pop album of the year.

CMAT will have you in stitches one second and emotionally suckerpunched the next. It’s brilliant. Inventive, intoxicating, deliciously camp – she continues to transcend all expectations and remains absolutely unmatched.

What she does do is elegantly weave different worlds together while staying true to herself throughout. It’s a follow-up that seals her as a new icon for outsiders, in whatever shape she takes.

Remembering, reinventing and emerging with a record as joyful as it is tear-stained, Twin Shadow has crafted something that's understatedly, subtly, almost perfect.

Awesome.

Not all of these experiments quite come off: the industrial clang of ‘It’s Dark Inside’, on which she drawls, “they don’t teach clit in school / Like do Lit”, veers close to ‘Yeezus’ parody. It’s notable, though, how contemporary her distorted art-punk sounds.

It's a collection of ludicrously fresh-sounding, short and sharp material (the majority of tracks are under two-and a-half minutes) that confirms he's in the midst of a seriously impressive rebirth.

The weird edges of Freedom’s Goblin are where your attention should be drawn to. Like the freeform jazz interlude ‘Talkin 3’ and ‘Prison’, which sounds like the frantic last squeals of a dying bee. It’s captivating stuff, honestly.

ESG remain a no-wave New York group unlike any other.

By any criteria an astonishing work.

This stunning second album... exudes brash, chaotic energy from every pore. [12 Jun 2004, p.48]

A mix album of sheer quality.... This should be the soundtrack to every party this summer.

Every so often a record pops up that seems to exist in some alien world, unscathed by hipster fads and driven forward only by its own gorgeous mindset. With 'The Violet Hour', The Clientele have made a beautifully haunting album of music to take drugs to make music to take drugs to.

A demented, disjointed, delicious-as-human-rump-steak modern classic. [23 Oct 2004, p.49]

Route One... is an enlightening joy because it trips all over the place, from darkness to bright to fast to slow to synthetic to organic and back again, and that's not because of any one person's influence.

Early Fragments is exactly that--a bit fragmented, given that none of the songs were written to sit alongside each other. But as ‘Seer’ suggests, there could be quite a future for Fear Of Men, and this release could start it all.

Highly ambitious and original stuff, created in aid of the Scottish Love In Action charity.

An essential emotional pummelling as well as an aural one.

Whether dabbling in light or dark, the Nottingham trio are never anything short of exhilarating.

Never Enough is laser-focused on doing the simple things to perfection: guitar, bass and drums in service of verse-chorus-verse hooks that will rattle around your head for days with rakish, disreputable charm in spades.

The production values on You Are We are perfection--too many metalcore records overproduce until notes feel clinical. But ‘Feel’ builds and drops like an avalanche of brilliance, Taylor’s voice firing off a round of vocal ammo with ease.

This peek into FEET’s trippy world is a often confounding, but on the whole this album is a giddy ride from a British band not afraid to push the boundaries of their own sanity – and, quite possibly, your own.

These two rap entrepreneurs have proven that it was worth the wait for another studio album. The years between ‘Revenge Is Sweet’ and their debut ‘Long Way Home’ have been fruitful for the duo, but – for all their dabbling – this is a welcome return to their roots.

The collection ebbs and flows steadily, and it’s undeniably sleek in its vintage Americana-style production. Some songs leave the listener gagging for more, as Savior flexes masterful lyrics, effortless style and poise. This is a timeless collection.

The music develops, gradually growing in its elegance, until further down the path Yorkston takes over, singing the baleful words of the great Scottish poet Robert Burns. The song finds a path across the globe from one visionary figure to another, the peak of a record that is somewhat visionary itself.

Whilst jazz and dance are at the forefront of this album’s heart, you can trace a multitude of other genres under its surface, from grime to rock and funk to pop. It’s an ambitious work full of scope, where Boyd continues to innovate and impress.

Here The Magic Gang have acted on pure instinct and feeling. This is an album that, despite its recognition of the downside of things, ends up as a more reassuring – and more real – listen than their debut. With its collage of genres and refusal to co-opt modern trends, album two finds the band moving towards something timeless.

20 tracks long, ‘Couldn’t Wait To Tell You’ is sleeker than the artist’s previous releases, but just as challenging and expectation-defying.

Although not every track is a total slam dunk, AJ has here crafted another successful project whose streaming numbers, singles and infectious melodies will live on in memory – just like Michael Jordan’s infamous match.

It could do with an edit in places (its 16-song tracklist loses momentum on the likes of ‘River Song’ and ‘Little Blue’), but for the most part it’s a record of great beauty; one to cling to when you’re going through it and revel in when you too have made it to the other side.

It’s her most mature, vivid work yet – and would be impressive from an artist of any age.

A melancholy streak runs through the album’s second half where tales of devotion (‘Lifeboat’), longing (‘Daydreams’) and ruminations on mental health and anxiety (‘Nightmares’, ‘Living Strange’) shine.

Spencer.’s gift is in how he has made a coming-of-age album on his own self-assured terms. His observations on how love can both crumble and blossom within a city as storied as New York are immediate and self-aware – and most importantly – endearingly hopeful.

The world he now paints seems bigger, brighter, more sensitive and compassionate. His songs have grown out of the warrens of his pain, and instead have bloomed into joyous epiphanies.

The result is both brutally honest and joyfully exuberant, as the band get comfortable and cathartic in their own skin – and invite you to do the same.

This record carries some of Phoenix’s most intimate and approachable songs in years.

It’s sonically brave and lyrically obstinate, a rare delight that stands out from its counterparts.

Unlike Shears’ 2018 heart-on-sleeve solo debut, it’s pure escapism and his most effortless-sounding set since bursting out of the traps nearly 20 years ago.

‘Affection’, then, feels particularly special for Bullion, a collection of alt-pop that deserves to be heard by the masses.

‘What A Devastating Turn Of Events’ – despite its slightly macabre title – is consistently charming, while offering enough range in sound and scope to hint at Chinouriri’s future ambitions. She has worked hard to make it sound this easy.

Wild Beasts have undergone a sea change, and this beautiful album is a treasure that deserves plundering.

From a less skilled artist, such a disparate-sounding album might morph into a collage of loose touchstones. Hayley Williams, on the other hand, draws clearly from other artists but retains her voice at the centre. Her frankness cuts through across Petals For Armor.

The powerhouse metal sound that’s earned them a religious following in every far-flung corner of the globe remains firm. But here, they take things further; ultimately letting imaginations run wild in an album that’s more confident and idea-packed than ever before.

The result is a densely orchestrated record that is as solid as it is sprawling.

There’s plenty of fun, filth and frills to go around with McHale’s latest venture.

Not to be outdone by US stoner-rock peers Sleep and Earth, who have records out this year, the Dorset satanists have spat out this eighth album.

His debut album ‘Hypersonic Missiles’ scratched gently at the surface of a songwriter of real detail and skill, but second time around he digs real deep for a wiser, weightier record stuffed with sax-soaked rock epics that touch on life and death, love and heartbreak, rage and regret.

Ekstasis reminds us that music can mean so much more.

It’s an impressive display, but the contrast between the two sides is so vast they could easily be two different records.

With ‘Projector’, the band have escaped their modest confines of a studio where pipes leak onto amps and delivered some of the most compelling new guitar music around.

A smooth gear shift from 2013’s ‘The Best Day’ and 2018’s ‘Rock and Roll Consciousness’, ‘By The Fire’ manages to stand out with ease. Here Moore elegantly channels his sense of poise and calm in a word going to shit, easily proving why he remains a hero in the world of alt rock.

Part II is an altogether more personal and laidback affair, concerned with romance and emotions.

Energy, desire and that indefinable cool that any great rock band must have burst from every angle. This album feels like a celebration, and Sheer Mag sure deserve one.

The TNGHT EP packs five explosive instrumental hip-hop tracks, every one dripping with each producer's trademark sonic flourishes.

It’s a high-quality project, but we lost Mac way too soon, and that’s hard to accept. So while it’s hard to listen to him talking about self-deterioration and how he spends far too much time in his own head, it’s a privilege to hear him share his inner most thoughts over a bed of sweeping, inventive sonics. This is the album Mac Miller was born to make.

July is a career high.

Where his previous projects felt sprawling, ’uknowhatimsayin¿’ succeeds in feeling compact while delivering a powerful project that is expertly produced and concisely executed.

This isn’t merely a record by a good band. This is a record by an important one that is now teetering on the edge of greatness.

When the album proper kicks in with ‘Totally Fine’, it’s clear that PUP are still trading in the same brutally pissed off but unassailably catchy blasts of self-loathing. And, yes, it’s still as much fun as ever.

If the best country music has always been about storytelling, then on ‘Cruel Country’ Wilco are delivering it in its purest form.

Swans' bleakness is beset with great beauty, black wings to another world.

Tracks like 'Mortar Remembers You' convey the bleakness of the situation ("I had to build a room to contain all the panic"), but Campbell's voice and the persistent whirling synths infuse the desolation with compelling energy.

It's expansively, ecstatically excellent for many of the same reasons as The Field's previous two: blissful, loop-based hymns at the intersection between shoegazing, trance and minimal techno.