Slave Ambient is an amazing record, but it is far from immediate as these songs take time to develop into something tangible.

There may not be too many of the pop hooks that Lush were so good at delivering, but this is a more textured, layered sound. Anybody yearning for the glory days of shoegaze will find a lot to enjoy here, and Tripla is the start of an exciting new chapter for one of indie music’s great survivors.

Laura Mvula has proved emphatically that her debut was no one-off and this highly accomplished return establishes her further as a unique, captivating talent.

Alex G’s skill is in tackling difficult subjects and squeezing them into the most wonderful kernels of pop, and once again, he’s succeeded here.

In spite of all that’s going on, the ground that Shame manage to cover, it all hangs together brilliantly. Drunk Tank Pink is a great album, from whatever angle you look at it.

Occasionally you get the impression that she’s trying a bit too hard – Bed Chem attempts to make a filthy pun on the word ‘camaraderie’ that trips up over its own unwieldiness. However, there’s a lot to enjoy, even love, on Short N’ Sweet.

Many Blue Nile classics whispered their way to five minutes without outstaying their welcome, and there's plenty here that could have done the same. It's a minor quibble, however, when an album sounds as lovingly crafted, honest and subtly passionate as this.

It has an astonishing level of clarity about it.

It's neither an easy nor a joyful listen, but tolerate the unrelenting gloom and it is never less than absorbing.

This music is at the core of what he does and has informed his musical language throughout his career. The fact that he manages to breathe new life into melodies as overplayed and hoary as What A Wonderful World or as complex and beautiful as Lush Life is triumph enough in itself.

Importantly for a concept album like this, the pacing is effective throughout with a good balance of light and shade, and because of this the narrative is consistently immersive and engaging.

Quaranta is not nearly as explosive as XXX – released around the time Danny Brown turned 30 – but we have engaging lyrics, head-nodding beats, and another quality record from one of Detroit’s best musical exports.

There is a fine line between catchiness and tedium on Grassed Inn, and the formula doesn’t always work.

There certainly seems a lot to unpack in Father Of The Bride, and at times there almost seems too much crammed into the album.

One Day I'm Going To Soar still feels like a triumph, in spite of its transparent flaws.

There are some tracks that don’t impress as much as others, but overall there isn’t a weak link in the engrossing narrative Harcourt has created here; it’s an utterly absorbing record, burning brightly as his boldest statement to date.

This album could easily be written off as being derivative and stale, but when you spend more than 30 seconds thinking about it, you realise just how rare and unique this sound actually is in 2018.

Every track is dripping with smooth chords, funk-influenced rhythms and a retro quality to the production, and is all the better for it.

A more brisk runtime and shorter tracks – as on 1981’s Lustwandel, for example – could have elevated the record to greatness, but as it is Wahre Liebe is a diverting collection that showcases Roedelius’ sonic prowess well.

As good as her earlier folk-rock songs were, this new direction is one that suits Rose extremely well.

A fine reintroduction to Jill Scott. It may not be as instantly genre-defining as that debut album proved to be, but it’s a record by an artist who sounds totally refreshed by her hiatus.

An unremittingly sad record, one that almost suffocates the listener with its own melancholia; and yet there's also something strangely inspirational in its 10 piano-led hymns to failing and trying again.

All in, Overgrown is a triumph. It is evidence of James Blake forging his own singular musical path, free from hype and expectation, and blossoming into both a producer of real compositional skill and a songwriter of great depth.

Silence Yourself may not invent a genre. Silence Yourself may not give you something you didn’t have already. But it is so stark, so bold and delivered with such utter belief that you wonder why anyone would possibly care.

It won't be remembered for long, but in 40 minutes the album offers an amorous walk through a woman's keen strength in a style of music that will never sound dated.

Virgin may not be Lorde’s most polished album, but it’s certainly her most compelling and revealing

Whether the second volume expands on this achievement is unlikely, but Thile now must be considered--along with Bela Fleck--as one of the contemporary masters of the mandolin, exercising his powers across multiple genres.

A true work of genius by a true eccentric.

Past Life Martyred Saints is an album that leaves a mark.

On first listen, it seems unfocused, rambling and at times impenetrable, but given time, it unfurls into something utterly compelling and all encompassing. ... It’s a difficult and traumatic journey at times, but it is worth taking.

Lindstrøm manages to achieve a palatable yet ambitious record without ever resorting to indulgence, not forgetting in his view of large forms to look closer and focus on the minutiae.

What this three-hour opus does is show Matmos to still be intrepid sonic explorers, pushing the boundaries of musical orthodoxy and consolidating their unique position within the avant-garde.

A sensational album of varying degrees of pleasure and pain. ... Ultimate Success Today is their most cathartic statement to date.

Clever but debauched, silly but serious, this is the best album of their career thus far.

It's appealingly uncompromising and right on the border between lucidity and madness.

In each of the 21 songs there is something to draw from, an instrumental colour to enjoy or a sentiment with which to relate.

The results might not always work--the dreary "Disturbed This Morning," for example--but when they do, it is almost always exciting. By no means is this a classic album, but there are plenty of worthwhile moments to be had.

Keeping the intensity and power of their previous work, but much more agile and versatile in its approach, The People In Your Neighbourhood feels comfortably like Led Bib’s best work to date.

Full of subtle moments of fragile beauty, this is a lush and sumptuous album. As soundtracks go, it is a very lovely one.

Those expecting freedom and discordance may come away disappointed, but this is, none the less, a driven and impressive album from a band in fine, but different, form.

There’s just enough experimentation and intrigue within the 10 songs to make Chorusgirl’s debut one to explore.

Some may miss Taylor’s presence and powerhouse vocals, but Slow Club fans will still find plenty to enjoy--and the uninitiated will be able to hear a truly talented songwriter coming into his own at last.

Coupled with mostly low-key guest appearances, The Pool isn’t an album that jumps out at you. It’s an easygoing record that has a sophisticated yet soulful centre, and that’s where its appeal lies.

It’s a fine showcase for Tunng’s strongest set of songs in many years--happily, this seems to be one reunion that’s working out just fine.

While there’s no denying that when they hit their default groove – as on To the Nth, for example – GoGo Penguin are a mightily tight, impressive unit, this album does leave you wanting more from a very talented band clearly capable of greater things.

A compendious set of cinematic, soothing and poignant songs, showcasing a deeper maturity not only in Melua’s voice, but also in her songwriting.

Above all, though, there’s McAlmont’s voice, which has lost none of its sexiness and agility in the years since he arrived on the scene in his partnership with Bernard Butler. ... While all of the musical elements may have a strong element of reminiscence about them, the lyrics are bang up-to-date, and not always as cheerful as the sound-world suggests.

Brothers & Sisters sees him build on these long established musical interests but, importantly, also add new elements to the mix to deliver a compelling listen. It comes out of the blocks impressively quickly, with each track building on the former to create a formidable initial run. ... In terms of musical statements it’s hard not to see it as his most vivid and vibrant to date.

As well as the unexpected guest stars – Damon Albarn! Chaka Khan! – there’s also songs about arcade games, an instrumental, and experimental tracks based on vocal repetition. It’s a far cry from the band’s usual breezy guitar pop, but it works beautifully well.

It would have been very easy, at such a young age, to restrict himself to a particular sound, but What Happened To The Beach? demonstrates an impressive range that bodes well for his long-term success.

We Are Together Again is the latest instalment of his slow musical evolution, a balancing of longstanding tropes of hardship and sorrow with the new human connection.

The 11 songs collected here are all among the very best of his career, enlivened with a vividness and warmth that offers something new with every repeated listen.

World’s Gone Wrong is a protest album, almost seething with rage about what’s happening in America. She may be 72 years old and a survivor of a stroke which has left her with mobility issues, but that unmistakable voice remains as powerful as ever.

It’s simply another good collection of melancholic indie-rock – and sometimes, that comfort in familiarity is just what you need.

With its often complex textures and patterns, much of The Secret could represent a challenging listen for those unfamiliar with music of this genre. Yet it's unquestionably a triumph; building impressively on Vieux Farka Toure's promising work to date and making good on its creator's promise to "dig deep into the secrets of my own history and my country's culture in order to move the music forward. "

While not quite as immediate as its predecessor, All The Time is an enjoyable collection of bops and ditties for those who like their tunes retro and mischievous.

It’s a story (almost cinematic), a journey, and far and away the greatest album they’ve done so far.

Not only is the music a step forward, the songs are too--and Coombes revels in their delivery.

Proto is a very distinctive record, and its sound design is as astounding as we’ve come to expect from Herndon. It’s also deeply powerful, as its crystalline tones call to mind the ghost in the machine, and leaves the listener wondering what further symbiosis can be achieved.

Her engaging lyrics remain her true strength. But in her quest to perfect this mission statement, the urgent spark present in her debut has dimmed just a little.

Another six-minute effort closes the album, Ducter, and like all the album’s best tracks it manages to navigate all the band’s best checkpoints of note, showcasing those spellbinding vocals and extraordinary percussion as they tread a truly staggering path. Schlagenheim will open up a whole new bottle of weird, if you let it in. It’s Troutmask Replica for a new generation, or perhaps it’s Can attempting to recreate the madness that Captain Beefheart’s enigmatic classic contained.

Some of these tracks are cruel in their brevity.

To paraphrase Public Image Ltd, this is not a love album, in a form that most would recognise. It is, however, a powerful rumination on its presence, absence, and the power, both good and bad that love holds over us. Oxbow understands the power of love.

It probably won’t be to everyone’s tastes – at times, it all becomes a bit too doomy and inaccessible, such as on Theme From Muddy Time – and newcomers to his music may be best pointed towards Your Wilderness Revisited instead. Nevertheless, this is another fine example of Doyle’s talent – and, considering he only turned 30 earlier this year, indicates a lot more to come in the years ahead.

It is full of sadness and hope, but ultimately it is a celebration of human spirit and the unique talent of Roky Erickson. This indeed is special and magical music.

That they emerge victorious is a tribute to the strength of these fine songs as well as some seriously glamourous production attitude.

It’s rare that you get an album by an established artist that genuinely shocks and irrevocably repositions them. Blank Project is one of those albums. This is a hugely significant return.

Particularly impressive is that the music never feels incoherent or thrown together. The band always, somehow, emerge with a compelling and coherent voice, albeit a strange and often dark one.

Overall, Pearson has produced an album with very few weak spots. It’s a record that takes the strengths of Return and builds on them, resulting in a work that, from the very first listen, you know you’ll be going back to again and again.

We find Omni changing the formula only slightly and having incredible success with it. Highly recommended. Underrate them at your peril.

The Manics may no longer be generation terrorists (if you can indeed be such a thing in your mid-50s) but Critical Thinking shows that, when they fancy it, they can still deliver a witheringly bracing state of the nation address.

This is effectively Hebden's Balearic album, and while it may not please everyone with its relatively conventional outlook and lack of experimental tendencies, few will be able to deny it as a thing of beauty.

Perhaps, but there do seem to be less of them these days, and Being Funny In A Foreign Language represents a gradual, encouraging maturation for the band.

Brothers is a woozy, murky album, fat as a tick, and riled up like a kicked hornets' nest. Whatever growing pains they've gone through as a pair has been worth it; Brothers hits harder than either of their solo albums.

It's lyrically depressing, but if you're down in the dumps about the ills of the world and frustrated by a lack of personal achievement, there's surely not a better companion piece to have to hand as you wallow.

Pain Is Beauty not only shows Wolfe’s penchant for atmosphere but for stylistic diversity.

They make up an entire color palette of music and lyrics, of sounds and themes, that when combined on Rutili’s canvas make up truly original territory.

If there's a more surprising album this year, we'll be, er, um, surprised; Primary Colours is one of the best albums of 2009 so far.

Simply put, no one does electronic music quite like Autechre.

With all the ingredients for success laid bare, Sempiternal comes as the lightbulb moment--the clicking into place of every cog and spring, Bring Me The Horizon more than ready to accept the gauntlet thrown to them.

It’s a vivacious, impactful beginning which appeals both to the heart and the body. Yet, there’s also plenty of evidence of skilful management of sounds, elements being introduced and withdrawn at the opportune moment.

Gwenno is doing important work here, and for those willing to open their minds and step into the mythical land of Le Kov will find that they may not want to leave.

All in, this is quite a cathartic affair, as Ferry weaves in and out of his enviable back catalogue with vim and vigour and with dashes of melancholy and darkness. Symphonic, cinematic and touching.

Leading The Raconteurs, the restlessly inventive maverick White and the sunnier, more straightforward tunesmith Benson really do complement each other well, mixing thrilling aggression with focused sweetness. White may have a much higher profile, but Benson brings a positive, restraining influence to some of his partner’s self-indulgent tendencies.

It’s an assured, charismatic release with a consistency that sets her above her contemporaries.

The basic template is still there – a slightly moody post-punk atmosphere, with plenty of room for Coxon’s saxophone – but the songs feel more fully formed this time around.

As it stands, this is a glorious return from one of our most distinctive artists.

Cabin In The Sky is a rollercoaster of an album that reveals its depth over repeated listens. Yes, at heart it is a eulogy for fallen loved ones, but it is also an existential crisis wrapped up in phenomenal guest appearances and carefully selected samples.

Its aching honesty and immaculate balance prevents About Farewell from being just another break-up record, as Diane presents something to us lyrically raw but unafraid to sport obviously produced yet sentimentally appropriate musical flourishes, from strings to harmonizing female choruses, when the time comes.

For a debut it’s a remarkably confident and assured album, while hinting at even greater things to come in future years.

Fading Frontier is probably Deerhunter’s fourth best album. It’s still an excellent record, but it’s just ever so slightly underwhelming.

Like its predecessor, every single element on The Midnight Sun appears to have been carefully and painstakingly thought out, but serene closer Window is a perfect demonstration of just how effortless it all sounds.

The release of The Next Day would have been one of the biggest stories of the year no matter what its quality--the fact that it also happens to be one of the best records of Bowie’s career to date just makes the comeback that much more triumphant.

If only her music might just occasionally match the freeform, flighty, extravagant nature of her words.

Whilst there are a few darker moments (particularly towards the midsection) there’s are also a number of delicate and beautiful moments too.

To ears trained on western classical harmony, rock and roll, or even much of the jazz tradition, this will sound fearsomely complex. What is truly impressive about these three players is how confident and effortless they make it all sound.

Some moments here do veer into the more predictable end of indie-rock territory.

He remains a formidable wordsmith, and a fast mover by the looks of things. However his career develops, it will be crucial for him to keep a tight hold of the bewitching elements that help make not just his debut, but also his latest, a refreshing listen.