With my Top 30 Albums of the Year behind us, I have to shout out the albums that didn't make the final list but were each in the running during the decision making process. There were so many albums to consider and so many that I hadn't even managed to get round to listening to. However, of the ones that I did, here are a few that I would be doing a disservice by not mentioning. In no particular order...

• Tierra Whack - Whack World
• Twenty One Pilots - Trench 
• Phony Ppl - mō'zā-ik
• Chloe x Halle - The Kids Are Alright 
• JMSN - Velvet
• Sons Of Kemet - Your Queen Is A Reptile 
• Aminé - ONEPOINTFIVE
• Boy Azooga - 1, 2, Kung Fu!
• Jorja Smith - Lost & Found 
• Zilo - The Nature Of The Beast
• Rejjie Snow - Dear Annie 
• August Greene - August Greene
• Ex:Re - Ex:Re
• YG - STAY DANGEROUS 
• Earl Sweatshirt - Some Rap Songs
• Now, Now - Saved
• Snail Mail - Lush
• Patrick Paige II - Letters Of Irrelevance
• Kelela - TAKE ME A_PART, THE REMIXES
• Joy Postell - Diaspora
• Can't Swim - This Too Won't Pass
• Kendrick Lamar - Black Panther The Album
• Kasey Musgraves - Golden Hour
• Django Django - Marble Skies
• serpentwithfeet - soil

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.

If you had told me that this album was going to be in my Top 30, let alone Top 10, at the beginning of the year I would have laughed in your face. However, my eyes were opened this year and in at my number 8 spot is Ariana Grande with Sweetener.

My first brush with Ariana was in Victorious on Nickelodeon years ago and I love her in that. Not particularly her character but her voice - wow. I'm not sure why that same sentiment didn't translate when she came over to the mainstream, I was definitely sceptical of the quality of her actual music. Some of my friends were singing Ariana's praises all through this but it wasn't until after I listened to one of her live performances, that I just had to give her album a chance. If I'm honest, about 5 tracks in I had to admit, Ariana Grande is one of the best things to happen to Pop music in a very long time.

Her vocal control, range and overall malleability are astonishing. My favourite tracks on the record right now are "blazed (feat. Pharrell Williams)", "God is a woman", "breathin" "no tears left to cry" "borderline (feat. Missy Elliott)" and have stayed as such pretty much since first listen. However, every now and again I listen back and discover more things about the rest of the album that catch my attention. These heavy hitters accompanied by the softer moments of experimentation come together to make a very solid body of work. My biggest concern on first listen was that it would be an album of 3 singles and half-hearted fillers. Let's just say that I've since learnt to stop doubting Ariana Grande.

Ariana's personality wins all of the battles that her lyrics perhaps weren't strong enough to fight. Although some of the songs aren't particularly lyrically challenging or inventive, the simplicity and candour in her lyricism win points across the board. This has been a big year for Ariana both professionally and personally filled with change and growth but I suspect that this is only the beginning for her in a lot of ways. I'm just happy that I finally jumped on the bandwagon in time to witness it.

Here's a look at what chimed in at number 8 last year.

One of the most listenable artists to come out of the UK music scene, he's almost impossible to hate. In at number 9 with his latest release Geography is British beatmaker Tom Misch.

Tom Misch has soundtracked several moments in my life and so when he released this album in April to say that it took over the entire next few months would be an understatement. I listened to that album almost every single day for two months. Generally speaking, the Tom Misch album treatment seems fairly simple, and nothing about his beats is really that technically intricate. However, what he does do well is strike a chord with the listener that lifts your spirit in every single song.

The songs that shine most for me at the moment are "Lost in Paris (feat. Goldlink)", "South Of The River",  "Tick Tock", "Disco Yes (feat. Poppy Ajudha)" and "Water Baby (feat. Loyle Carner)". What's interesting about Tom's sound, and which rings true even for the songs listed above, is it's welcome underneath any coffee-house or hotel foyer din but also raises the eyebrows and gets the feet tapping of anybody listening. Tom's take on lo-fi jazzy beats is modest but memorable and it's his understated confidence that wins him fans across the board. After catching him live at Primavera Sound Festival this year it only cemented my love for his summery sound and added a whole host of new memories soundtracked by Tom Misch.

As a debut full album release Geography is a safe but satisfying body of work. I'd definitely like to see Tom explore more with the next release and tap into more adventurous features and instrumentals but for now this album has done more than enough.

Have a look at last year's number nine album here.

Well here we are, the TOP TEN. It's been an eventful 20 days so far, lots of very different albums. However, ushering us into the Top 10 is an album from one of my favourite bands in the UK - Basement in at number 10 with Beside Myself.

I might go as far as to say that this is my favourite album of theirs to date, which is surprising to me considering how much I enjoyed their last album Promise Everything. After, I saw the album release pop up on Spotify, the first listen was actually an event for me. I had a long commute coming up that I had planned as the perfect time and place to listen. When the time came around, I could barely put my phone down because I was checking my phone so much for which track was playing. This album is just hit after hit.

Hits with the biggest impact for me are "Nothing Left", "Ultraviolet", "Stigmata", "Just A Life" and "Reason For Breathing". The riffs on this record are phenomenal. It's becoming more and more difficult to find unique riffs and melodies in Rock music these days. However, every single one of the songs I've listed has a riff that stayed imbedded in my mind for days after each listen. Andrew's lyrics directed at homesickness and a longing for a home-base strike a chord even for those who may not have felt that way before. His vocals sound stronger than ever and the emotion that lies under them comes through just enough.  

When I found out that Basement would be releasing the album under Fueled By Ramen, I assumed that the album would have a slightly more refined sound but aside from that I wasn't 100% sure what to expect. All I can say is that Basement blew me away with this album, it was everything that I wanted before I even knew what I wanted. I'll definitely be hoping to see them live again in 2019.

Have a look at the album that brought us into the Top 10 in 2017 here.

The ethereal queen is back, and just missing out on a Top 10 spot with her fourth album High As Hope is Florence + The Machine, in at number 11.

My favourites have stayed pretty much the same since first listen: "June", "Hunger", "Grace", and "100 Years" stay in my mind the most. "June" is one of the best album opening tracks that I've heard this year. Florence has always been gifted when it comes to twisting the intricate spots in a song around a subtle melody before hitting the listener with a roaring and memorable crescendo, but I have to say that this is one of my favourite instances. The mantra of 'hold on to each other' sounds almost religious by the end of the song.

Florence's previous album How Big, How Blue, How Beautiful struck a chord with me at the time because of the sheer grandeur and spectacle of it all. However, High As Hope calls to me because of the more subtle and quiet nature of it. Florence has settled down somewhat in life and her music definitely reflects this. Still with the anthemic and larger-than-life vocal that we've come to associate with her music, but this time bringing a gentler touch in all of the right places.

One thing I will say, is that I was hoping for a more adventurous album from Florence being her fourth album. In some ways Florence has stepped way out of her comfort zone, writing from a place of peace and happiness rather than her preferred melancholic, thunderous sound. However, aside from the premise of the album there is not much here that we haven't seen before. Luckily, Florence's good is better than a lot of people's best and in these ten tracks, that fact has stood her in good stead.

Check out what album was pipped at the post last year here.

This album has been doing wonders since it dropped and it's only been a couple of months. She's just finished supporting Ms. Lauryn Hill at Wembley Arena this weekend and now soaring in at my number 12 spot is Nao with Saturn.

The first time that I heard about Nao I was on my way to see Little Dragon for the first time four years ago and had no idea what to expect until I saw it with my own eyes. Almost instantly I could see that there was something special in Nao. However, looking at her album now and realising how much she's grown since then and how much potential she still has; I might even have underestimated her initially. It's only been a couple of years since her debut record and she's already improved leaps and bounds - not only vocally but also with production and DJ-ing. She's even launched her own record label since then.

Tracks that shine through for me right now are "Another Lifetime", "Make It Out Alive (feat. SiR)", "Saturn (feat. Kwabs)", and "Drive And Disconnect". I still remember exactly how I felt and exactly what I was doing the first time I listened to these songs. Being able to hold a presence in any moment in time is so important for a great piece of music and Nao's been able to do this with an entire record. I'm almost embarrassed that I continue to be surprised by how good Nao is.

Overall as an album I feel like it trumps her debut For All We Know, particularly in aspects such as production and song selection. However, I feel like the songs that stood out to me on FAWK like "Blue Wine" and "Bad Blood", rest in my mind with a little more weight than the stand-out tracks on Saturn. Nao's star has risen quickly over the past year and I don't see it slowing down any time soon. I am abundantly happy for her success with this, and can't fault her getting credit where credit is clearly due.

Have a look at what other UK songstress took the number 12 spot in 2017 here. Funnily enough it also included a feature from Kwabs.

This album opens with one of my most played songs of the year and closes with one of my favourite duets of the year. Floating in at number 13 is Sydney-based Tonight Alive with their latest album Underworld.

Unfortunately there hasn't been as much Rock music in my library this year and I'm still not completely sure as to why. However, quality over quantity and in this case, quality's definitely won out. I've had some back and forth with Tonight Alive over the past 6 years as both a fan and a critic, but this album has firmly cemented my love for them.  

I remember listening to their single "Disappear (feat. Lynn Gunn)" for the first time on BBC Radio 1, in the car somewhere and I can't tell you how my face lit up as the opening riffs rang out. After being disappointed with their last record Limitless, hearing this single made me so hopeful for the Tonight Alive that I absolutely adored back in 2013. Another top play for me this year, hearing Lynn and Jenna duet together kicked goals that I didn't even know I was holding onto. This is easily one of my favourite moments on the album and this comes alongside so many others. "Book Of Love", "The Other", "Just For Now" and "Waiting For The End" stand out the most to me right now but with every listen something new jumps out that makes me smile.

I have to tip my hat to Dave Petrovic of course. After his work producing The Other Side in 2013, and now putting his hand to Underworld; I'd say that it's no coincidence that I love this album just as much. Jenna's found a way to tug at my heartstrings at least once on every album they've released and this one is no different. Lyrically they are able to articulate simple young adult sadness in the most relatable ways. Although there's a weight to this album, every time I listen through and belt it out I know I'll be smiling inside and out.

Have a look at the album that took the lucky number 13 spot last year here.

The first time I saw this band live at Reading Festival still goes down in my books as one of the best live performances I've ever seen. The raw energy that they put into their shows, at the time, went unmatched by a large proportion of other UK bands. Punching in at number 14 is Marmozets with Knowing What You Know Now.

After their debut album made its way to my number one spot in 2014, you can imagine how excited I was for this follow up album. Lead singer Becca has previously described this as her 'fighting album', giving her strength when things in life aren't going so well. Anthemic hits like "Run With The Rhythm", ooze encouragement and a feeling of determination, but it's the subtle notes of 'pushing forward' and 'being brave' coming through amidst the more angsty lyrics, that carry the most weight.

My favourite tracks on the album for me are "Play", "Meant To Be", "Major System Error", "Lost In Translation", and "Start Again". I first listened to this album whilst I was making my way around Melbourne in January and it stuck out like a sore thumb in my music library at the time. Since then it's continued to stand out but for all of the right reasons. Becca's ability to bring riot grrrl vocals in over Math Rock beats, and control her voice with a level of emotion that's almost performative is excellent.

As well as being an album with pure fight and grit in it, Knowing What You Know Now clearly shows the growth and development that Marmozets have gone through since their debut, not only as a band but also as individuals. This is some of the most mature and calculated material they've put out to date and I cannot wait to hear what's around the corner.

Have a look at the album that made its way to my number 14 spot last year here.

We've reached that sweet, sweet middle ground - and bringing us in at number 15 is the summery In The Comfort Of from the illustrious beat-maker Sango.

Most people know about Sango through his work with Soulection, however I think my first encounter with Sango actually came from a Spotify recommendation this year. It wasn't until I delved deeper that I found out I'd already heard his material via Soulection. Regardless, the more that I learn about Sango the more I like his ethos, not only as an artist but also as a human being. He makes music with the belief in mind that he's encouraging other musicians that it's a good idea, and that it's important to be inspired by your peers. That earnestness shines through in many of the softer pockets over the course of the record.

This album was the soundtrack to my summer months. There is a song for every mood on this record and I can attach at least one memory from the last 6 months to every single song on here. My favourites at the moment are "Mateo 2.19 (feat. Romaro Franceswa & Dave B.)", "Chemistry (feat. JMSN)" "Sweet Holy Honey (feat. Xavier Omär)" and "Comfortable (feat. Ryan Ashley)" - and that's heavily narrowed down. There are so many stand-out moments dotted around In The Comfort Of, like the last minute of the instrumental on "Dance For Blessings", the smooth R&B vocals on "Twogether (feat. Jesse Boykins III)", or the ebb-and-flow of beat in the last minute of "On Me (feat. Jon Bap)".

Held together by samples of conversations and broadcasts in Portuguese, Sango manages to meld the things that mean the most to him in his life (his home comforts so to speak) like his family and relationships, together with an open-for-interpretation message about what comforts you, the listener, most in life. This is one to sit with as the sun sets and you're sat in the places or with the people that make you feel most comfortable. Do this, and see if you're able to finish Sango's sentence, - in the comfort of...

Here's what brought us into number 15 last year.

This next band came stomping into my life so suddenly that when I listened to the album I almost didn't have time to catch up with my feelings. The heart-racing, fist-pumping Joy as an Act of Resistance from IDLES in at number 16.  

Out of every single name on this list, this artist has been all over the news and social media the most by a long way. If you hadn't heard any of her music until now, shame on you, but there's no way that you haven't at least heard her name. In at number 17 is Cardi B with the aptly titled Invasion Of Privacy.

Like most people I'd only really heard about Cardi B musically after her smash "Bodak Yellow" came out. That song is still a hit to this very day and despite how much overplaying it's gone through and how much the radio has tried to make me hate it, it's stood the test of time and still makes me feel just as good as I did listening to it for the first time. The same could be said about this entire album to be honest. It's hands down one of the most popular albums to come out this year and as much as I try to shy away from things with a ridiculous amount of hype surrounding them, I've found myself coming back to this album on so many occasions.

Stand-out tracks for me right now are "Get Up 10", "Bickenhead", "She Bad (feat. YG)", and "I Do (feat. SZA)". I say that those are my favourites for right now because that most definitely was not the case when it first came out. After the first listen I would have told you that "She Bad" should have never even made it onto the final album and "I Like It (feat. Bad Bunny & J Balvin)" would have been my favourite by quite a mile. However, overplaying changed and cemented all of my opinions. I don't see my favourites changing around again for a while but I can safely say that I'll be sitting with this album time and time again in 2019.

There's undoubtedly some controversy surrounding Cardi B, yet also a number of people supporting her as somebody that encourages women celebrate their sexuality and to be themselves completely and unashamedly. Cardi puts so much personality and charisma into her writing that it's hard not to like her, or at the very least admire her honesty. As a debut, she's definitely let the world know who she is and I don't doubt that she'll be keeping us updated.

Dropping in at number 17 last year with this gem right here.

An album that in some people's eyes succumbed to the sophomore slump. However, I believe that in more ways than one it brought a musicality to the table that debut album Telefone wasn't quite able to achieve. This has received a mixed bag of critique from fans and critics alike and I myself have gone back and forth in my mind about how I feel. All of that aside, in at number 19 is Room 25 from the amazing, Noname.

Since her debut album Telefone in my love for Noname has continued to grow, so much so that I recently decided that I may have been wrong in not giving it a Top 10 spot in my Albums of the Year list in 2016. The nostalgia and upbeat, melancholic reflection on that album was literally like lightning caught in a bottle. The more that I listened to it, the more I just wanted to hear more. When Noname announced that she'd be releasing Room 25 I was over the moon. Partly because I couldn't wait to hear some more witty and interesting lyrics, but mainly because I wanted an album to get me through the winter months and to open my eyes to things about myself that even I hadn't yet realised. In hindsight this was an incredibly unreasonable expectation for any album to reach. As you can imagine, after first listen I was disappointed.

I had a few stand-out tracks to begin with that I returned to often, however as a whole I knew that I wanted something different. It took me a couple of months to let this go and listen back to the album in full again. Listening to it with more of an open mind also opened my ears to the key things that I'd missed initially. The musicality first and foremost on this album is fantastic. Noname opting for a slightly more jazz-heavy, instrument based album here rather than her previous lo-fi beat flex has come at the perfect time where mainstream jazz is re-inventing itself in a beautiful way.

My favourites at the moment are "Self", "Blaxploitation", "Montego Bae (feat. Ravyn Lenae)", "Ace (feat. Smino & Saba)" and "Part Of Me (feat. Phoelix & Benjamin Earl Turner)". Most of these are the singles that I revisited initially however "Part Of Me" only really struck a chord with me on the second listen. Lyrically this album is just as sensational and entertaining as Telefone and I have to applaud Noname on taking a step in a different direction and doing so confidently and without remorse. This album was very intentional and directed, and I can happily say now that I love every minute of it.   

Here's a look at the album that took the number 19 slot in 2017.

Bringing us safely into our Top 20, we have the Mercury Prize nominated, Everything Is Recorded By Richard Russell by Everything Is Recorded.

I had this pegged as a solid contender for the top spot in this year's Mercury shortlist and given the sheer calibre and number of contributors on this record, it's extremely easy to see why. The concept for the album was created by head of XL Recordings and music industry champion - Richard Russell. After working with, signing and influencing some of the biggest names we have in music today, from Adele to Thom Yorke, Richard has put together a team of newer artists to forge this gem of a record.

Richard's experiences with Guillain-Barré Syndrome come through here-and-there in nuanced ways throughout the album, at one point sampling the phrase "There are moments in our lives where we feel completely alone". As sombre as the thought is, ultimately the album leaves the listener feeling hopeful. However, the album did fall short of my original expectations - with the roster being what it was and with Richard Russell at the helm, this had the potential to be ten times better. It's a safe take on the album we could have had, and so that hopefulness stretches towards any new material coming from Everything Is Recorded in future.  

Golden nuggets for me at the moment are "She Said (feat. Obongjayar & Kamasi Washington)", "Show Love (feat. Syd & Sampha)", "Be My Friend (feat. Infinite)", and "Everything Is Recorded (feat. Sampha & Owen Pallett)". Giggs' feature makes me smile every time I listen but essentially it was most of the tracks featuring Sampha that struck a chord. He's the key feature in this project for me and his touch on each of these tracks is considerably different from the last yet equally as memorable. Each of the collaborators add their own subtle touches and stamps on the record but the samples from past recording sessions and older soulful generations tie the album together very well.

Have a look at what album ushered us into the Top 20 last year here.