“Like the legend of the Phoenix…” So began the party song of this year, last year, next year, probably the year after.

The Sons of Kemet’s peculiar forces of two drummers, tuba and reeds have been on the road for over two years now, their performances landing on an unsuspecting crowd like a petrol bomb on seasoned timber. With the tuba playing as part of both the rhythm and horn sections, the Sons can deploy both massive rhythmic firepower and potent melodic edge.

It's an understatement to say that the massive revival of fortunes of club music in the 2010s has had its ups and downs. It's been a time of chaotic glut, of excess and spectacle – thanks particularly to the American “EDM” (electronic dance music) wave, which has seen egos, assholery and unnecessary fireworks that make the 90s UK superstar DJ era seem like a gentle Sunday afternoon stroll in the park – but also of diversification and fertility.

In the right circles, Jason Isbell already has enough of a reputation as one of contemporary Americana’s finest songwriters - both solo and as part of the Drive-By Truckers - that for him to drop an album as subtly stunning as Southeastern shouldn’t really have been a surprise. But what edged this album - the songwriter’s fourth either under his own name or alongside his band the 400 Unit - above The Julie Ruin’s Run Fast in my choice of best of 2013 was its consistency.

It’s ironic that the album which has invited itself back onto the turntable more often than any other this year is wholly redolent of another time and place: the California of the early Seventies. Whatever the shortcomings of his live performance, on his second album Fanfare Jonathan Wilson fashioned a dense, atmospheric whole whose constituent ingredients were explicitly acknowledged – and not just by the identity of those guesting on the album. But it was also wholly original and showcased a unique yet disconcertingly familiar voice.