When the beats eventually die down the album shows its soft underbelly.

Palmer has made a record that sounds not like the latest from Brechtian punk cabaret's leading light, but the thoughtful debut from an invigorated artist, striking out from the valley of the Dolls.

The album brims with quick 'from the gut' compositions that have been uncomplicatedly produced using simple instrumentation.

As the Richard Harris exhibition showed, by enabling us to momentarily confront our own mortality, morbid artistic meditations on death can be oddly and overwhelmingly uplifting.

Falkner manages to set up a sort of production halfway house, which raises everything out of the bedroom, but still burrows deep to the tender core at the heart of Daniel’s songs.

'Warmer Corners' is a timely reminder that the art of songwriting hasn't died - it just goes away and hibernates in the Adelaide Hills every so often.

The band remain an excellent and vital act, still producing worthy music which is head and shoulders over many similar, lesser acts, the problem, it seems, is that their evolution is a slow one.

Aabenbaringen Over Aaskammen attempts to splice that sound with a new, more varied approach. It isn't always entirely successful, it's sometimes awkward, but hey, what do you want?

While unrelenting fury is a major feature in the songs here, what really brings From Safer Place to life are the curveballs it occasionally lobs out.

HHowes’ debut album infuses swirling soundscapes, muted beats and nebulous bass into 43 minutes of forward-thinking electronic music.

Vanilla is an intriguing and often fun record that not only rewards repeat listening, but almost demands it.

Expect the Best stands out amongst other reverb-drenched indie rock for being exceptionally well composed.

Some Are Lakes is a record that grows in stature with repeated listens, whispering more of its secrets under the still blanket of late nights.

If Basement Jaxx want to hide their scars behind such easily enjoyable and well constructed pop music, then long may they continue.

It’s a cohesive experience, solidly held together within itself, spurring re-listening not just as a conscious opportunity for thematic re-evaluation, but through the compelling, primal sense of purgative compressed energy within their sound itself.

We Are The Pipettes is possibly the only pure-pop record you need own this year.

Silesia is still a relaxing listen: and all of its intense sound swells still leave you with a feeling of peace.

Repeated listenings reveal the record for what it truly is - the most human of comeback records.

For the most part, Small Craft on a Milk Sea slots back into that forward thinking mindset, creating further realms of possibility for Eno to operate in.

A sprawling debut which is as rich in its influences as it is in its sonic make-up. It is by no means an instant record – unless you happen to find yourself amongst some dynamic scenery or situation – but what it does is unravel, slowly and surely.

Overall though, Travellers In Space And Time is a fascinating collection that won't be everyone's cup of tea, but should at least cement its creators cult status for the forseeable future and some.

If you like your heart soaked in red wine, and your records to sigh and sway, come hither.

Their gentlest to date, 44 minutes of music arranged around a single, dreamy riff/motif. Listen to it on Bandcamp or Spotify without checking out the other stuff that comes with the music and it perhaps seems like a retreat from the sturm und drang of their previous work. But the accompanying words and art to Luciferian Towers posit it as the band’s most politicised set since Yanqui UXO.

It’s still simplistic and limited but it’s meant to be. That’s the whole idea. The converted will remain.

Even if plenty of the songs on this record could be easily mixed up with something from their past two records ('Window Sills' and 'New Schools' are straight off Everybody), their idiosyncracies never diminish any of this album’s terrific songs.

A fine album which might be too much of a period piece to truly be the 'sound of 2012' or somesuch, but has a greater chance of making Sophia Knapp into a minor unit-shifter than Lights or Cliffie Swan ever did.

As Program 91 soars over--here we go--fjords of excellence, it never really lands or takes off with any satisfying oomph.

Songs is an accomplished second album, that sees Woodhouse building on the foundations of electronica-tinged outputs that you'll quite easily appreciate and enjoy.