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.

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.

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 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.

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.

It's been a long journey but we've finally come to the number one spot in my top ten albums of 2016. This album's meant so much to so many in so little time. Ladies and gents, the one and only Solange with A Seat At The Table.

This album could not have come into the world at a more necessary time. Every person I've spoken to about this album has had it touch their life in a personal way, whilst also hearing it talk to so many relevant issues going on in the world and grating issues we experience on the day-to-day. It also just goes to show how important timing is. Up until this I feel like to most, Solange was just "Beyoncé's sister" or "that chick from Bring It On" but it's not like she hasn't released many other great pieces, written many tunes for other artists or collaborated on so many other ventures. She's been working on this record supposedly since around 2008 and now in 2016 it couldn't be a more perfect time to hear it. If this had dropped back then, I doubt it would have had quite the same reception. I mean it still would've been appreciated because the quality is undeniable, but it might not have hit Number 1 on Billboard so easily. 

Music wise - it's always been "Don't Touch My Hair (feat. Sampha)" for me. First time I heard this song, I woke up with it stuck in my head almost every day for over a week. When a song is so good that it can inflitrate my dreams, that's a pretty good sign for me. As lyrically, instrumentally and just all around vibe-wise perfect the track "Cranes In The Sky" is, something about "Don't Touch My Hair" resonated more for me. My critic brain is telling me that Cranes is by far the better track but I know what my heart says here. Aside from those two big hitters, the rest of the tracks on this album don't fail to disappoint (interludes included). I don't feel like I've listened to another album recently that's made me as thoughtful whilst listening. I always come out feeling like I've just enjoyed a beautiful 52 minutes of music and had a dance and a sing, but then I remember how pensive I actually am throughout. As well as being an ultimate bop, it's an important think-piece...what more could you ask for?

Rounding up, I just have to mention the collaborators. The phrase "too many chefs spoil the broth" isn't always true in music I believe. Some of my favourite records come from artists who collaborate with many other musical geniuses. This record in particular has a lot of my favourites credited and so it's no surprise it took my top spot. If you somehow haven't yet listened, take a seat at the table.