Levine has done a wonderful job of creating a work whose humble beauty easily can captivate you if you let it.

Ultimately, as beautiful as it is in its more subdued moments, the album feels fully realised when her alternative and mainstream instincts find each other.

A curious album that is well worth investigating.

Although the remixes do not do the original songs on 'Gloss Drop' justice, 'Dross Glop' does give other artists their chance to interpret Battles' songs in their own way, from a rap twist with Shabazz Palaces to others going into even more experimental territory than the band themselves.

Orangefarben has very little distinctly objectionable or sinister about it. There is still the impression that something is lying dormant under the initial cheerfulness, but for those craving true, raw darkess, Baenziger's demons might not rear their heads quite enough.

Just when you're close to giving up [on A Wasteland Companion] we get to 'The First Time I Ran Away' and the album suddenly and brilliantly clicks, starts getting everything right.

By and large though they still end up falling on the sword of 'Fever''s brilliance.

They do truly make a beautiful noise together. That said, vocals can't account for everything and, in an album so marked by its makers' laryngeal input, it seems as though the rest got a little neglected.

There is certainly well crafted song writing, but the album suffers for having a rather one dimensional sound; the most interesting track ['Sweet Dee'] is, notably, the most different.

Often on 'Awe Naturale', the songs are suddenly cut off before they get into their stride and leave you wanting more of their soulful jams with a rap twist. Regardless, this is a largely enjoyable debut from this versatile duo.

'Weapons' has no shortage of big choruses, slick production and crunching riffs but is let down by tired lyrics and too many forgettable songs.

Coxon's most accomplished solo album to date.

Consider it a curious concept explored by two-thirds of the group that perhaps shouldn't distract you from revisiting 'The Grind Date'.

There is a lot to take in here but certainly a lot of fun to be had in the process as well.

Choreography is tailor made alternative pop of the highest degree, with enough ear friendly, sing-a-long melodies to entice even the 'older' generation.

Folila's best moments do inadvertently serve as a reminder of how good Amadou & Mariam are without the hired help.

It's further proof that Orbital aren't content to stand still and rest on the laurels that have made them ones to watch at festivals. 'Wonky' as an album is sexy, smart, and filled with all the potential to smash the competition.

At times 'Rant' comes across like a hip church choir having a go at some pop hits. Yet, in the main, this is a fun and genuinely touching set of songs.

'Dear' has a refreshing simplicity and endearing vulnerability that will gatecrash your soul and render your skip button impervious.

You'll either love it or hate it but, ignore the buzz, take it on it's own merits, and you might very well be rewarded.

There is a naïve charm to their rudimentary rock and 'Tosta Mista' is a sporadically great introduction to those charms.

There's no doubt 'Nocturniquet' is amongst the band's best work, and sufficiently different – witness for instance the loud bass-heavy synths that pervade the heavier tracks – from their career highlights that it should satisfy all comers. It's f***ing brilliant, and that's really all there is to it.

It's oddly accomplished, and Winston's classical background shines through.

This record is a playful, daring and capricious listen, and one of the first truly remarkable records of 2012.

The liberal use of string sections throughout do teeter on the brink of out-and-out cheese but Cowley's trio have enough class and, dare I say, verve to pull through.

Sees The Light is a decent solo effort, but for the casual observer it might be worth saving your currency for the next Vivian Girls record.

This is an astonishingly good album, and the fact that it's a debut makes its stylistic and thematic consistency, as well as suave swagger, all the more to be recommended.

Its title track, 'The Capitol' and 'Fenix' are all pleasant enough but lack any real dynamic and verge on the point of becoming fillers. Those are only minor niggles for an accomplished album though.