The top spot. 30 days and 29 albums later, we've arrived at the album that I believe may not sit at the top of many other lists this year but will feature somewhere in almost every list. An album that surprised me and continues to impress me. An album that I can not only party to, but also sit with and think about. And finally an artist who once again, went platinum with no features. In at number one is J. Cole with KOD.

The reason I say that this album may not make top many lists this year is because for most avid J. Cole fans this album is probably pipped at the post by the phenomenal 2014 Forest Hills Drive. That aside, the things that have pushed it to the top of my list are the fact that J. Cole produced this all himself (a rare feat these days), and the level of wit and emotion that's dotted around the lyrics on this album had me raising my eyebrows on every single track.

Stand out bangers on the album for me are "ATM", "Motiv8", "Once An Addict (Interlude)", and "1985 (Intro To "The Fall Off")". These songs would have been a welcome addition on 2014 Forest Hills Drive but the production has a noticeably more modern touch to it, particularly on "ATM" and "Motiv8". Alongside the unique and memorable instrumentals on this, J. Cole's candour and unashamed reflection give a further look into the things that have brought him to where he is today. Not everything is a shining representation of him and his life but it's truthful all the same.

On the back of his last album 4 Your Eyez Only, this album steps all over it . Short but sweet, KOD leaves a lasting impression on fans and newcomers alike. Jermaine keeps a somewhat skewed social commentary present throughout but uses story telling to bring home his overall message in regards to addiction, and his confidence shows here. J. Cole still has the potential to grow and build, and it might do his next material some good to actually have collaborators and features in the mix. However, I admire his vim and determination to bring us something poignant and powerful on nobody's back but his own. This fact more than anything is what carried him into the top spot.

Here's a look at what album took the number one spot in 2017. Tomorrow I'll be listing the albums that didn't quite make the Top 30 list but which deserve an honourable mention all the same.

We're in the endgame now. Just a couple more days before the ball drops and one more day before we reach the number one spot. In second place is Blood Orange with Negro Swan.

If Solange's A Seat At The Table and Childish Gambino's Awaken, My Love had a love child, it would grow up to be Negro Swan. This album has all the soul and carefree swagger of Childish's record, matched together with the poignant skits and and subtle but stellar production of Solange's. This was no surprise to me given that Dev Hynes is a long time friend and collaborator of Solange's, however there's a difference to this record in comparison to Dev's previous Blood Orange records.

The title alone strikes up feelings before you even delve into the music. The juxtaposition of something often associated with ugliness, with something only ever linked with beauty poses enough intrigue to begin with. Dev's focus on depression, anxiety and battling with being on the outskirts of so many labels comes through in his beautifully poetic lyrics. Those sprinkled over the mostly cheery and funky beats balance out juxtaposition in the phrase Negro Swan very well. It's an album that you can dance and cry to all in one and that's definitely me favourite kind of album.  

My favourite songs on this at the moment are "Jewelry", "Holy Will (feat. Ian Isiah)", "Nappy Wonder", and "Out Of Your League (feat. Steve Lacy)", but that's changed over the past few months and will no doubt change again. The choice of collaborators and feature artists on this album is well thought out and a great match for the songs that they're on. However, the lack of UK collaborators is quite clear in the album's overall sound, which makes sense in the context of the album. Although I would have liked to see Dev, having been raised in London himself, use this album to put some more eyes on his UK counterparts. That aside, this is a fabulous body of work that I will continue to return to over the next year and beyond.

Have a read of my thoughts on last year's runner up here.

We're into the Top 3 with a band that I've supported since this blog's inception. It's been a tumultuous couple of years in the world of this band, and we've seen them build and change in front of and alongside their fans in a way that's never been so poignant. Now dropping in at number three is Architects with the magnificent Holy Hell.

In the wake of Tom's passing last year the band and fans alike were utterly devastated, and if I'm honest, I was steeling myself for the news that they wouldn't be continuing on without him. However, when they announced that they would be releasing new music, I wasn't sure what to expect but I was excited. Watching their film - Holy Ghost - about the making of this album was difficult but definitely shed some light and confirmed a few assumptions I'd already made about how things were playing out behind the scenes. Tom's role in the band was always a big one but it was suddenly very clear just how big; like realising just how deep the water you're in is. Architects have taken that pressure and swam with it, being sure to keep Tom's input and influence at the forefront of their music, whilst also being sure that each of their parts swelled and broke with emotion around it.

My favourite tracks on the album at the moment are "Death Is Not Defeat", "Holy Hell", "Royal Beggars", and "Modern Misery". Architects have tried to articulate their feelings of processing and 'dealing with' pain on this record. The struggle and effort that come part and parcel with this are something that they don't try to shy away from at all. Rather, they identify it and use it to spur them on, which only makes you appreciate this album more.

If there's anything to critique I would note that the strings could use a bit more thought where they appear and could add a more theatrical moment to it. However, this realisation only came to me after a few listens. All in all, the album ebbs and flows in a way that takes the listener on a journey of grief, sure. However, it's the charging voice of Sam Carter that steals the show for me on this. It's more melodic than their past projects but somehow the vocals hit harder in pockets than they have previously. This is a huge album and a beautiful tribute.

Here's a look at the album that ushered in my Top 3 last year.

This artist was one of my favourite discoveries from 2017 and one of the most memorable performances I've seen this year. And yet this album still managed to surprise me. In at number 4 is Soccer Mommy with Clean.

After catching his set at Parklife Festival last year my admiration for him has definitely grown, and since his last album it's clear that his artistry has grown too. One of the best performers I've seen in recent years and one of the most talented musicians. In at number 5 is Anderson .Paak with Oxnard.

There are so many special moments on this album and I find a new one almost every time I listen. The heavy hitters on this record for me are "Who R U?", "6 Summers", "Trippy (feat. J. Cole)" and "Cheers (feat. Q-Tip)". Over all of these though, "Tints (feat. Kendrick Lamar)" has got to be one of my favourite singles this year. The flow is incredible, the beat is so effortlessly funky, Kendrick's feature holds the song together perfectly and it harks back to an old school vibe with a more modern take.

A friend messaged me recently asking if I liked Anderson .Paak. Without even thinking I said "Yes, why?" but then he asked "As a woman, how do you feel about his content?", which made me think a little bit more. It's gotten easier to overlook questionable lyrics when they're laying between the notes of mind-blowing instrumentals, and that thought made me listen through his material to be sure. Despite his overuse of the word 'b*tch' and cheeky-verging-on-troubling quips, his goofy and endearing nature allowed me to make light of it rather than brand him as rude or reckless. Anderson's talent is undeniable and with Oxnard it's clear that he's going from strength to strength, I just wonder if he'll mature with his music.

Anderson's distinct charmingly raspy voice is noticeable anywhere and is a welcome familiarity on an album filled with so many different vibes. His major label debut has a myriad of influences flecked throughout but a little bit less of a cohesive "sound" as there was with Malibu. Although funk and jazz run heavily from beginning to end, the different hip hop influences add a very unique flavour to Anderson's repertoire. He's done a good job of expanding his view on the LA funk scene - I'm hoping he continues to expand and master his influences on his next few projects, because he most definitely has the talent to.

Have a look at what boxed its way into the number 5 spot last year here.

Bringing us in on Christmas Day with her musical mastery is the futuristic forward thinker, Janelle Monáe. In at number 6 we have Grammy nominated album, Dirty Computer.

The first eight songs on this album flow so fantastically. That silky transition from "Screwed (feat. Zoë Kravitz)" into "Django Jane" still brings a smile to my face when I listen to it. Alongside those two tracks my favourites on the album right now are "Take A Byte", "Make Me Feel", and "I Like That". This is the most different Janelle Monáe album across the board. Earlier this year I wrote about how although this is without a doubt a fantastic Janelle album, this isn't her best. She's still thinking a step ahead but she's almost caught up with herself here. Despite that, she's just so good and is without a doubt one of my favourite performers this decade.

The visuals in this album's eMotion picture are phenomenal. They really set the album apart from any other release this year. After extending her acting career over the past couple of years, she's brought some of those theatrics to her own musings. Janelle's never had any trouble gripping viewers with her over-the-top and stunning visuals and after watching this album, it's clear that she's definitely honed in that talent. Still in keeping with a recurring Janelle theme of performing albums in acts or suites, the album breaks into three distinct and memorable acts. The visual helps to piece together the thoughts on what might have otherwise been a bit of a muddled mix of wonderings.

I've been in awe of Janelle Monáe ever since 2008 when my friend played me "Sincerely, Jane" on her phone at school, and continue to be in awe of her still. Everything that she's released since has been ahead of the game and a cut above. Now that the world has begun to catch on, it's a pleasure to see her true self and the message of equality that she's been preaching for years now, genuinely appreciated for their brilliance.

Check out the Christmas miracle that I picked as number 6 last year here.

Primavera Sound was the best festival that I went to this year and this next collective's performance was one of the most memorable of the weekend. In at lucky number 7 is The Internet with Hive Mind.