There’s something about High Hopes’ slight incoherence that actually stands to its advantage--it’s a less homogenous, polished whole than Magic or The Rising and a fresher, more arresting listen.

It’s the work of a confident, mature songwriter with a clear and distinct voice.

In what’s been a tremendous year for female singers thus far (see releases from Marissa Nadler, Bat For Lashes, Emmy The Great and fellow Portland-er Laura Gibson), this is yet another to add to the pile.

This is a slick, confident, emotionally mature and balanced album, crammed with zingers, from a band who know their territory like the back of their hands.

With Nobody Knows Willis Earl Beal has rescued soul from the depths of the X Factor's Motown week.

Amidst the madness of Oneohtrix Point Never’s music, these are songs that hit the core of humanity and therein lie their beauty.

While opening track ‘Get Innocuous’ gently apes his own ‘Losing My Edge’ for the first minute and a half, the rest of the LP gradually moves onwards and upwards; either improving and tightening the previous template, or trying new things altogether.

'The Fog' provides the LP's coda; part of me is surprised by the last-gasp dive into Gruff Rhys-esque psychedelic pop, but the rest of me is too bowled over by its beauty to care. It's the last in a dazzling array of surprises that show exactly why his label were so keen to snap him up in the first place. On this evidence, Ghost Culture is in for a very good year.

Somehow, by taking these backwards steps, Peaking Lights have, rather bizarrely, flown forwards, proving in the process that, when handled correctly, nostalgia can be a fine tool. A fine tool indeed.

Songs Cycled has everything you’d want from Van Dyke Parks and from an album. By being true to the Van Dyke Parks’ perception of what an album should contain, his music sounds as though it is from a different planet.

Whilst this ceaseless good feeling will be too much for some, even those who don’t list this style of music amongst their interests may find enough variation here to keep coming back, as each song differs enough in its construction to warrant repeat visitations.

Apes aren’t about to crack that ‘til now ignorant mainstream with this fourth offering, but established acolytes and curious newcomers will find much indeed to be super-stoked about.

Grapefruit is fabulous. It is challenging and it is fun.

Where British guitar bands like the Arctic Monkeys have failed in enabling their audiences to dance in any way more stylised than an up-down jump, this guitar band play songs you could very nearly jive to, partner in hand.

Dave Grohl is a veteran -- the world does not need another record from him. The world needs Obits.

By drawing from her vast catalogue of experiences, she finds the scope for an engaging range of musical tangents. Yet somehow, she has made an album which is not confused or disjointed.

This might not be their finest work, but it’s the best thing they’ve made in at least a decade.

At 75 minutes and 19 tracks, it is comfortably his longest record to date, but also his most listenable.

While Ma Fleur is no better than The Cinematic Orchestra’s previous scores, it is equally gorgeous in how it responds to and ekes out intellectual quagmires of song.

‘Organic’ is a word that has influence and is often applied, but hardly does justice to so otherworldly a record as Yesterday and Today’. A pulse very rarely makes you feel this alive.

There really isn't much not to like about Time Capsules II; it would take a lot of energy to summon up any hatred for it, like hating a new-born puppy, or your own child.

It’s a jaw-dropping accomplishment, one of those records that’s almost pointless to listen to as a series of individual songs--tracks are mini symphonies in themselves, and to break Loud City Song down into tracks would be missing the point.

Laibach has done little to diminish their brilliance on a loaded, thought-provoking, and immeasurably entertaining release.

Sure, a lot of this has been done before, but not often with this level of assurance and class on a debut album.

Oneohtrix Point Never has gone further than most, especially with Replica, in proving that our heritage doesn't always need to be "rehashed" to be replicated with real style.

The music here is more considered and richly teased out.

It's so different from the majority of his previous output that it might take some time to truly get to grips with. The coherence of the whole record is a joy.

There’s a nocturnal ambience in places, a mythic sensibility throughout, but plenty of light in the dark.