Categorically not your ordinary Christmas album, and one to check out now if you missed it the first time.

Dear River is an interesting collection but, while pretty, these songs sometimes sound a little too slick or obvious.

The approach proves that there’s still relevance to be found in the commercial compilation. This is largely down to the third disc, titled ‘Meditation’, which serves as a compilation of entirely new material that sees Craig shift his focus from dancefloor fodder to some impressive ambient explorations.

Tracks still miss on occasions, and Glover writes with such self-awareness that the listener can regard him as a full-of-himself show-off, someone who believes he deserves musical success just because he’s achieved it in television.

Back To Land won’t immediately blow you away, but that warm, overdriven sound makes the latest LP from this San Francisco quartet another compelling one.

Far from an ill-advised sideways movement for its maker, from production to rhymes, Rap Album One finds a well-deserved home within Stones Throw’s prestigious catalogue.

This is strange, boutique folk-pop with a vitalised imagination--a rewarding listen, and then some.

The album is at its best when DeGraw’s chaotic textures give way to more structured declarations of despair.

While his distinctive voice and keening melodies are as enchanting as ever, Wilson has added a cinematic heft that neatly avoids being saccharine.

TOY get the balance exactly right here, perfectly mixing noise and melody.

Get some eggnog inside you and give this enduring pair a little respect.

Deranged and balefully bleak.

Despite lending his rich, soulful vocals to an eclectic collection of tracks, including versions of songs originally by Coldplay and Wye Oak, the streamlined, country-tinged production waters the songs down.

Whilst previous albums were energetic and exuberant in scope, Eve largely lacks the duo’s trademark vigour and moments of originality.

While these are only flashes, they help make Corsicana Lemonade a progressive exercise in restraint.

Another impressive feather in one of the most versatile caps in Parisian pop music.

Perhaps less instantly gratifying than the shimmering ‘Zonoscope’, Free Your Mind is nevertheless a great time that provides additional rewards for those willing to disentangle its layered arrangements.

After the delicate beauty of previous albums, this is the sound of an artist unleashed.

B-Room is offensively inoffensive.

Woolford fends off critics of unoriginality by contributing to/completing bass music’s circle of life. Good tidings of Thunder and Joy.

On Shangri La he has captured everything cleanly and sparsely to really let Jake’s storytelling shine. The resulting exposure makes for a mature and remarkable album.

A nice refresher, if a little unnecessary.

With 37 previously unreleased performances, On Air Volume 2 is essential for any Beatles collector. For everyone else, it’s an informal insight into the world’s greatest group on the verge of an exhilarating ascent.

Some decent-enough songs on an overly long album mostly containing sub-par tracks from an artist capable of much more.

Not a great pop album, then, but certainly the product of a great pop star.

The strengths of My Name Is My Name vastly outweigh its minor faults, and Pusha’s studio debut finds itself easily nestled into the year’s top five rap releases.

Although weaker tracks are covered up by pristine studio trickery, No Blues is consistently infectious and edges the band closer to mainstream territory.

Antiphon is going to divide opinion, but give it a chance--it might just be the best thing they’ve ever done.