The musical equivalent of conflict journalism, PJ Harvey’s proclamation that ‘I took a plane to foreign land and said ‘I’ll write down what I find’ is a perfect summation of The Hope Six Demolition Project‘s inspiration. Commenting upon the horrors of the modern world in the same way which she compiled information on the trails of the past during ‘Let England Shake’, the legendary singer/songwriter’s latest work cast light upon the untold stories of war-torn nations such as Kosovo and Afghanistan with unflinching honesty. Outraged at the world leader’s willingness to let humanitarian crises continue, Harvey’s role as a pivotally important artist was once again solidified on her ninth LP.

Transporting the listener to sunnier climates with its jangly guitars, harmonised vocals and carefully constructed arrangements, Calico Review marks the third release from Californian outfit Allah-las. With a distinct disregard for convention, the band have found their place among the modern revival of psychedelia; thriving on their sixties influences while remaining fresh and innovative thanks to their experimental tendencies and mesmerising instrumentals. Bringing the old and new together in dazzling fashion, there is an ethereal timelessness that presents itself in Calico Review.

Barrie James-O’Neill’s record Cold Coffee was recorded in the USA with the same producer who worked on a classic albums from Elliott Smith, Beck, Tokyo Police Club and FIDLAR to name just a few. And the work of Rob Schnapf really brings to life the talent and craftmanship of musucian O’Neill who has an indeniable talent for transforming melonchony, pain and heartache into really great tunes. Standouts have to be singles ‘Mary’ and ‘Chivalry Is Alive And Well And Living In Glasgow’, whereas the likes of ‘Angel Tears’ and Way Over My Head’ are heroic pieces of musicanship from the Glaswegian. There’s no other album that sums up really excellent songwriting and incredible production better this year.

Californian outfit The Growlers returned with their fifth studio album this year and it marked a significant shift in direction for the garage rockers. Interestingly their first release on Julian Casablancas’ Cult Records, it’s a record that has undoubtedly challenged some of the Growlers’ wholehearted fans; The Strokes’ frontman making his influence known through his slick production; synthesisers and retro influences making themselves known throughout. However, with funky melodies and groovy rhythms laced through the album, The Growlers haven’t lost any of their swagger with Brooks Nielsen’s distinctive vocals adding some scuzz to the crisper arrangements. It’s perhaps a more experimental offering from the outfit but it is one that pays off.

Brimming with allusions to 70’s rock and roll albeit with a modern sensibility, Whitney have accomplished something very special with their debut album Light Upon The Lake. The work of Max Kakacek and Julien Ehrlich after the disbanding of Smith Westerns in 2014, it is evident that this was where they’ve truly hit their stride as both artists and songwriters. Highly melodic from start to finish and comprised of heart-on-the-sleeve odes to lost lovers and distant memories, Light Upon The Lake is the sound of the bitterness autumn seeping in after an idyllic summer. Setting the scene with the gorgeous ‘No Woman’, standout tracks include ‘Golden Days’ and the heartrending ‘Dave’s Song’.

Explosive, incendiary and yet inherently catchy, there’s something about LA noise/experimental hip-hop trio Death Grips that provides them with a unique appeal. Uncomprimising in their vision for their output, their latest record Bottomless Pit has seen MC Ride, Zach Hill and Andy Morin veer back towards the more accessible sound that had originated on their sophomore effort ‘The Money Store’ rather than the industrial dissonance of recent records. Loaded with pulsating beats, twisted rhymes and an energy that only they can exude, it’s a frantically paced collection which certainly isn’t a reinvention for the band but displays absolutely everything that they do so well

The sound of a man that’s struggling to come to terms with his own rampant creativity and the constant hounding of the public, Kanye West’s The Life Of Pablo is less an album than it is an expressionist piece of art. A record that is capable of constantly evolving due to West’s strict belief in never releasing it physically, it is the ever controversial artist at his most feral and vulnerable in what we now know to be a turbulent time in his life. Waxing lyrical on the dangers of fame, money and monogamy over a succession of hard hitting beats, the cathartic ‘Ultra Light Beam’ sees Kanye touch upon his faith while ‘Father Stretch My Hands’ part 1 &2, ‘Wolves’ and ‘Real Friends’ expand upon the inner conflicts which rage within him. Elsewhere, tracks such as ‘Fade’ and ‘Feedback’ see him continuing to expand his musical pallette far beyond anyone else in mainstream hip-hop.

Fatherson returned with their sophomore record Open Book earlier this year. This was the trio’s first LP release since signing a major label deal with Sony/Easy Life, and it showed with its ambitious soundscapes, massive anthems and soaring refrains. Sticking to the theme that had previously served them so well, evocative lyrics with huge guitar-driven melodies, Open Book is a coming of age record that deals with self-doubt and the complexities of relationships. Featuring big rockers like ‘Just Past the Point of Breaking’, ‘Always’ and ‘Lost Little Boys’ alongside poppy ballads like ‘Wondrous Heart’, it’s an album which shows growth and development while establishing them as one of Scotland’s most promising guitar bands.

2016 has been a big breakthrough year for Brooklyn trio Sunflower Bean, largely thanks to the release of their critically acclaimed debut album Human Ceremony back in February. Bursting with youthful energy and ambition, their ability to bring a long list of influences together in such refined and aesthetically pleasing fashion makes this one of the most exciting and nuanced releases of this year. Julia Cumming’s fragile vocals provide the perfect foil to Nick Kivlen’s crunching guitar work while drummer Jacob Faber keeps the whole thing together with his taut snare work. Moving between genres from one track to the next, highlights include the shimmering blissful pop of ‘Easier Said’, the punchy garage rocker ‘Come On’ and psych jam ‘Space Exploration Disaster’.

Fraught with emotion from the outset and every bit as harrowing as one would imagine, the circumstances in which Nick Cave and the Bad Seeds incredible ‘Skeleton Tree’ emerged make it all the more remarkable. Whilst it’s a necessity to dispel the rumours that the vast majority of the tracks were written about his son Arthur’s untimely death; the bulk of the writing was completed beforehand, it has nonetheless been a massive influence on the record’s sound from Cave’s painstakingly eked out delivery to Warren Ellis’ mournful tones which are sprinkled throught. As poetic and awe-inspiring in the lyrical department as any other artist in the world, ‘Skeleton Tree’ is a homage to loss, suffering and finding light amid the crushing darkness.

With much anticipation surrounding its release, Blossoms finally shared their self-titled debut album with the world in August this year and it didn’t disappoint. Blossoms is a refreshing and catchy collection of pop-rock songs; the influence of guitars outweighed by bright, glossy synths so that it sits more in line with the pop acts on today’s mainstream radio than any of the band’s guitar-driven contemporaries. Kicking things off with Radio 1 favourite ‘Charlemagne’, it’s hard to ignore their eighties influences throughout the album with their use of kaleidoscopic synths, sparkling psychedelic throwbacks and infectious melodies. Arguably one of the biggest breakthrough acts of this year, they have sold out venues all over the UK since its release.

The Spanish quartet finally released their much anticipated debut album back in January and it didn’t disappoint. Having gained a reputation for their raucous live shows in the months preceding its release, it was no surprise that ‘Leave Me Alone’ came packed with the same ramshackle and infectious energy for which they had become renowned. From the lackadaisical introduction ‘The Garden’ to breakthrough single ‘Bamboo’ to the riotous ‘Castados en el Granero’, it is a joyous collection full of poppy hooks, jangly guitars and laid-back rhythms; much of its appeal stemming from the glorious dual vocals between Ana Perrote and Carlotta Cosials. With a nod to sixties pop, punk and garage rock, the record boasts a ragged lo-fi charm that is impossible not to love.

Having steadily established themselves as one of the most innovative and exciting talents to emerge from Scotland’s music scene in recent years, Crash Club released their highly anticipated debut EP C.C.101 at the start of this month to much critical acclaim. Showcasing their endless crossover potential, the EP brings immersive dance together with their rock ‘n’ roll leanings in compelling fashion; its four tracks exuding the muscular and forward-thinking sound that they have made entirely their own. With not one permanent vocalist, they expertly bring in a melting pot of session guests with powerful vocal performances coming from Medicine Men’s Iain Mackinnon, Tijuana Bibles’ Tony Costello and Dougie of Mickey 9’s. It is no wonder that Crash Club have become the toast of music lovers around the country having developed one of the best live shows in the country to match their captivating sound.

As nonchalant as a popular indie rock band could ever be, Twin Peaks’ output mirrors the band’s outlook upon life and never looks to put too much of a strain on its audience. Culling influence from everything from blues to 60’s proto-punk, the garage rock sounds that emanate from their Chicago headquarters have never sounded as rigorously fleshed out than they do upon ‘Down In Heaven.’ Touching upon romanticism with a litany of gorgeous ballads while never subverting from the wonderfully fuzzy sound that made them such an interesting prospect, it’s a record made in the tradition of 70’s MOR and yet rattles restlessly with ingenuity. Even managing to traverse the notoriously hard to mimick sound of the Stones circa Exile On Main Street with tracks such as ‘Wanted You’ and ‘Cold Lips’, it’s an album to submerge yourselves into and it will reveal its unique charm in response.

A record that will no doubt find its place on many end-of-year lists given the sheer levels of critical acclaim it has received since its release, Angel Olsen’s MY WOMAN is one of the most lyrically profound albums of this year. Effectively adding an electronic fuzz to her reverb-drenched country folk and Americana sound, the record explores themes of womanhood, love and isolation in truly compelling fashion; her visceral lyrics coming straight from the heart and expressed with an unbelievable articulation and sensitivity through her powerful vocals. Featuring a number of highlights such as the sweet ballad ‘Never Be Mine’ to the sultry grunge-pop of ‘Shut Up And Kiss Me’, the centrepiece of the album is ‘Sister’; an eight minute sprawler which builds from its sparse instrumentation into a Fleetwood Mac-like crescendo.

Years of potential coming to fruition over the course of 14 tracks, Chicago’s heir to the throne Chance The Rapper capitalised on the success of previous mixtapes with the fantastic ‘Coloring Book’. Sounding more self-assured from bell to bell and flirting with high-end production in a manner that he’d been reluctant to on ‘Acid Rap’, to say that ‘Chano’ bounced back from the slight blip that was ‘The Social Experiment’ would be a serious understatement. Bursting at the seams with insightful rhymes delivered in his own unique style and grandiose beats that straddle any number of different genres, his prowess and diversity is made known to even the harshest of critics on tracks such as the poignant ‘Same Drugs’, party anthem ‘All Night’ and more boastful fare such as ‘Angels’, ‘Juke Jams’ and ‘No Problem’

It has been another triumphant year for Scottish heroes Biffy Clyro who have well and truly cemented their place at the top of British rock’s hierarchy. 2016 included a headline slot at Reading & Leeds, a massive homecoming show at the Glasgow Summer Sessions and another arena tour in support of their seventh studio album Ellipsis. Arguably their leanest record to date, it sees the band embrace their stadium-ready sound more than ever before; the choice to work with former Muse producer Rich Costey having a clear effect on their dynamic. Influenced by Simon Neil’s struggles with mental health, it possesses a combative stance throughout while boasting the familiar catchy choruses, singalong refrains and sledging guitar riffs for which they have become renowned. From the gargantuan opening ‘Wolves of Winter’ to the emotionally vulnerable ‘Re-arrange’ to the bright and poppy ‘Howl’, Biffy Clyro deliver a masterclass in well-crafted radio rock.

Having burst onto the scene with their ferocious debut ‘Are You Satisfied?’ in 2015, punk rock duo Slaves decided to strike while the iron was hot with the swift release of their follow-up record ‘Take Control’ this September. Produced by Michael ‘Mike D’ Diamond of The Beastie Boys, the new album follows a similar formula to the first; crunching riffs, earworm choruses and sardonic lyrical observations, often laced with a dose of humour. Capturing the raw, primal intensity that is known to cause chaos at their live shows, Isaac Holman’s snarls embody the album’s refusal to accept the monotonies of everyday life. It’s another accomplished effort from Slaves who prove that they’re more than punk posturers.

Produced by The National’s Aaron Dessner, Frightened Rabbit returned with their fifth studio album this year; lending a more refined sound to their distinctive brand of Scottish melancholy. A far cry from the scrappy anthems of heartbreak that filled early records Sing The Greys and Midnight Organ Fight, Painting of a Panic Attack marked a shift towards bigger soundscapes and more emotionally mature lyrics; Scott Hutchison’s deeply cathartic narratives shining over layers of distortion, sharp drum loops and brooding electronic touches. The frontman touches on the same themes of religion, sobriety and breakups but this album is one of their most expansive efforts to date; sounding more like a group effort than ever before.

Having strengthened their cult appeal with each album, southern rockers White Denim added sixth studio effort Stiff to their prolific output earlier this year. With the ability to spread unbridled joy thanks to their blistering combination of blues rock, funk and soul, this latest album is a raucous affair from the outset; ‘Had 2 Know’ setting the party atmosphere with its punchy riffs and singalong chorus. The four-piece have carved out a niche for themselves in recent years and while they may not be reinventing the wheel, this is a relentlessly enjoyable album which displays their mastery of classic rock tropes; from the funk-tinged ‘Ha Ha Ha (Yeah)’ to the rollicking ‘Hold You (I’m Psycho)’.

Among the biggest musical talking points of the year and a ray of light for many in a period in which we’ve lost many of the artform’s finest creative minds, the return of Radiohead was a truly seismic event. Teased and alluded to for months before any official announcement was made, it became apparent that we were on the peripheries of hearing something special as soon as the challenging ‘Burn The Witch’ first met our ears. Continuing to expand their sound in all manner of high-minded and well concieved directions, this return to form after the uncharacteristically patchy ‘The King Of Limbs’ has left fans praising them in a volume not seen since the ‘In Rainbows era’. ‘Daydreaming’ and the long-awaited arrival of ‘True Love Waits’ finally receiving the studio treatment would be enough to keep fans docile but an array of phenomenal tracks such as ‘Identikit’, ‘Present Tense’ and ‘Desert Island Disk’ ensure that this record is likely to grow in estimations for years to come.

A staggering debut album from Glasgow’s post-punk aficionados Holy Esque, who were never going to go about their business in half measures. Not only ambitious in its composition but thematically aswell, At Hope’s Ravine is a dichotomy of sweeping soundscapes and abrasive walls of noise; full of reverb-drenched guitars, angular riffs and brooding synths. From the shimmering sounds of ‘Rose’ to the more moody ‘Doll’s House’, there are shades of light and dark throughout; the album’s muscular sound matched by its powerfully evocative lyrics, dealing with heavy concepts such as religion, grief and escapism. An ambitious, anthemic and emotional debut record that was worth the wait for Holy Esque fans.

Coming in at a massive 9.5/10 earlier this, the debut release from Glasgow’s Baby Strange is a well-crafted piece of Scottish pride. They’ve teased us with one brilliant track after another since 2013 and the eagerly anticipated debut album Want It Need It; a record that’s 100% worth the wait. The album is full of big singalong moments that many bands would be envious of. They sound like a band who have matured in recent years while still possessing that raw, addictive energy that made such an exciting prospect in the first place. One thing is for certain; the trio from Glasgow looked primed for big things more than ever.

Savages received a second consecutive Mercury Prize nomination for their highly acclaimed sophomore record Adore Life after it was released back in January. The nod of recognition will have come as no surprise to those who had become acquainted with its ten tracks; the album reinforcing the band as one of the UK’s most vital rock acts. Building on the raw fury of their debut, Adore Life is full of imperious vocals, heavy guitars and angular rhythms; yet, through its affirming lyrics, there lies an emotional vulnerability that feels almost unprecedented in the surrounding chaos. In an impassioned call to arms, they challenge the listener to open themselves up to love in an increasingly disconnected modern world.

Rich in story telling and soaked in statement style, The Last Shadow Puppets’ second release really is a seductive piece of work. Recorded in Rick Rubin’s Shangri-La studio, which also happened to be the Malibu home to The Band in their Last Waltz heyday, Kane describes the duo’s progression from The Age of The Understatement to where they are today as a “balls have dropped” type of experience. And he’s right. Influences on this record aren’t necessarily as stark or as obvious than they were on the predecessor. There’s still love lingering throughout, but it’s grown up love, smothered in lyrics, riffs and a style that really resonates. London, Paris and LA all fuel the stories laid bare in the release and it’s inspirations are as varied as those places in the world.

As one of 2016’s most highly anticipated releases, Jamie T did not disappoint with his fourth album Trick; easily his most accomplished and varied record to date. Building on the sonic experimentations of its predecessor, it takes the best parts of his previous offerings and brings them together to great effect; from the heavy, hedonistic rock of the opener ‘Tinfoil Boy’, to the jangly guitar riffs and upbeat rhythms of ‘Tescoland’ to the emotive ballad ‘Sign of the Times’. Weaving together influences from grime, hip hop and abrasive rock, whilst still making clear nods to his indie foundations, Trick sees Jamie T grapple with bigger themes alongside moments of emotional vulnerability. Displaying the sound of an artist well and truly at the top of his game, 2016 has reinforced his cult-like status as a performer, songwriter, raconteur and indie hero.

Frank Ocean’s return has been one of the most talked about music events of 2016; his second album Blonde somehow managing to live up to the crazed levels of hype that surrounded its delayed release. An elusive artist who established himself as one of pop culture’s most vital voices when he released his debut Channel ORANGE back in 2012, Ocean’s 17-track follow-up is an intriguing and intoxicating body of work that further reinforces his immense creative vision. Minimalist in the best way possible, it is an album that reveals new textures with each listen; betraying an unbelievable emotional depth through its lyricism. Boasting a long list of collaborators such as Beyonce, Kendrick Lamar and James Blake, it is testament to Ocean’s unique artistry that he is able to maintain a singular voice and vision throughout. A bold and confident return, he gives himself free reign to experiment, resulting in an album which can only be described as R&B in the most expansive sense.

On their second album, the Glasgow duo sound more thrilling and menacing than ever; armed with shedloads of defiance, grit and resolve, and ready to stake their claim as Scottish music’s next big success story. Along with their heavier sound, Stina Tweeddale’s songwriting has become more self-assured, hook-laden, snappy and direct while also possessing the ability to effortlessly switch her delivery between feelings of defiance, menace and triumph. Along with their heavier sound, Stina Tweeddale’s songwriting has become more self-assured, hook-laden, snappy and direct while also possessing the ability to effortlessly switch her delivery between feelings of defiance, menace and triumph. Honeyblood have returned with an album that screams of resilience and defiance in ways that is more than befitting of its title. Above all else, it’s a call to arms for anyone in need of solidarity; a testament of survival which captures the sounds of a band who are ready to take on anything.

The last will and testament of one of music’s greatest innovators and free-thinkers, it’s only natural that David Bowie’s Blackstar is an album that allowed him to bravely head to new frontiers as the walls began to close in around him. Released just days before his untimely death at the age of 69, this epitaph for one of the most revered careers that we’ll ever bear witness to is fitting in the sense that it’s every bit as fearless as the man himself. Exploring trip-hop, industrial music, free-form jazz and even the remnants of his interest in the age old form of rock ‘n’ roll over the course of seven fantastic tracks. Startlingly beautiful and melancholic in equal measure, highlights of the record include the prophetic ‘Lazarus’, the Clockwork Orange inspired ‘Girl Loves Me’ and the gloriously indecipherable ‘I Can’t Give Everything Away.’

Backed by an all star cast of musicians including Queens Of The Stone Age’s Josh Homme, Arctic Monkeys’ drummer Matt Helders and The Dead Weather’s Dean Fertita, the response to the ‘Post Pop Depression’ release was epic in 2016.An alum that firmly cements Iggy Pop as the grandrather of punk rock, the release featured genuinely outragous tracks such as ‘Gardenia’ and ‘Break Into Your Heart’, sparking fire in the hearts of rock ‘n’ roll fans around thw world. The album is a return to the eccentric and charismatic sounds of his classic The Idiot LP and have noted the theatrical, Bowie-esque brogue which he employed on the teaser tracks.