This is comfortably Roberts’ most colourful recording and, whilst it retains the hypnotic quality of his delivery, also takes another significant step in his development a living, breathing artist going well beyond the curation of folk traditions.

We'll settle for saying it's a great record. Full stop.

An intriguing and powerful release, Simian Mobile Disco prove with Murmurations that they are still as vital as ever.

For anyone wanting to hear a genuine progression from the blueprint laid out by "Play" and to enjoy the calmer, more ethereal and undeniably sadder side of Moby's music, Wait For Me is worthy of further investigation.

Truelove's Gutter is yet another showcase for Hawley's subtle genius. Every sound on the album, from the notes to the vocals, is warming and rich with sensations.

This album shows him to still be in thrall to the possibilities of composition and unafraid of tackling the bigger issues it can so powerfully address.

The last three Art Brut albums gradually moved away from the energy and enthusiasm of Bang Bang Rock & Roll, but with Wham! Bang! Pow! Let’s Rock Out they sound like a band having more fun than ever before. All three of those exclamation marks are entirely justified.

An excellent debut album, full of brash confidence and seductive charm.

This is handcrafted, in-it-for-the-long-haul music, which will give many hours of pleasure.

This is an album comfortably on a par with the work of most of the younger artists they’ve influenced; compelling proof that the original shoegazers have stood the test of time remarkably well.

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.

Archie Bronson Outfit have hovered on the fringes of success for some time now, somehow never quite achieving the success that their critical acclaim would suggest they deserve. Coconut may be a bit too obtuse to change that, but it's a fascinating release; for those willing to explore beneath the seemingly obtuse surface, there's much to delight.

Uh Oh may not be an album filled with instantly catchy pop hooks, but instead is heavy on atmosphere and feeling. It’s an album to live inside, and although the general tone is muted, it becomes an affirmation that even the worst thing that can happen can be channelled into something inspiring.

The demos here may be cheaply recorded and lacking in sound quality but there is nothing lacking in the quality of the songs, which are seen in a new and very welcome light.

[Take Care is] a darkly funny and thought provoking song on which to end on, and a prime example of the diversity and humour that makes this quite possibly the best Madeleine Peyroux record in twenty years.

In Time To Voices is an extremely impressive and clever modern rock record.

Just as the early promise of the album looks to be coming unwound, closing track Pictures Of A Bird finds the band in fine form.

In terms of songwriting quality alone, Invasion Of Love knocks spots off the competition.

As an album No Treasure But Hope feels both familiar yet also a development. Emotional density to the lyrics pairs admirably with passionate, compelling music, and it’s varied enough to encourage engagement from beginning to end.

There’s something monumental about it. Something of Swans in the way they harness the brutality of instruments played at the edge of breaking point. The same apocalyptic destination. There’s also a similar use of repetition, looping sections over and over with bulldozing impact.

Whilst the musical content here is unlikely to shock or surprise Bjork's loyal admirers, it sees her continue to pursue her own radical and individual path with unshakeable conviction.

Throughout, there are salient reminders that Metric, despite never quite breaking big commercially, are experts in writing a memorable tune.

From the outset, A Situation is a black hole of an album: cold, dark, even nihilistic. It’s easy to get drawn into the music but it doesn’t offer any obvious exits or conclusions.

There’s a nagging feeling that they may still be a bit too obtuse for commercial success. The rest of us can just enjoy one of the early musical highlights of 2018.

It’s Billy Nomates’ best album to date, and testimony to the fact that whatever doesn’t kill you does indeed make you stronger.

Despite the album’s central concept and expansive nature, it is in fact a tight and cohesive work. There’s rarely any self-indulgence, making these songs in total Ufomammut’s most direct and accessible work to date.

Still heavy, still personal, but with the support in place. There’s something generous about it. That matters, especially in a genre so easily pulled into nostalgia as shoegaze.

Whereas some Avery albums have struggled to convince, the work here is fleshed out and artistically vibrant, the only noticeable weakness being an overly goofy ostinato on Lone Swordsman, though IDM had a few of those in its time. All in, Ultra Truth is an accomplished, moving record.

Galaxy Garden is a compelling exploration of Matt Culter's experiences of dance culture over two decades and its nods to the past, coupled with Lone's infinitely fresh and modern twist, make this one of the premier dance records of 2012 so far.

It is a well constructed, fulfilling work in its own right but what remains most impressive is how, despite never quite crossing over to major popularity, Teenage Fanclub are still able to exist in these challenging times.

It won’t be for everyone and there will be those who continue to look at Pete and Carl’s relationship with utter bemusement, but their songwriting prowess has ensured that the decade-long wait between albums has been more than worth it.

There’s everything from glitchy pop, dance tracks and emo rock on this album, but a key message, Smith’s unique vocals, and a tendency towards electronic earworms, make it a sonically cohesive work that has just the perfect touch of modern life to make us feel something, but with enough escapism that we don’t burn out from it.

There are moments of sheer brilliance on Ga... and due to the band keeping things short and sweet (the album clocks in at about 36 minutes) those moments are rarely far apart.

Oddfellows then is a fairly straightforward album, although it possesses enough personality and deftness of touch to bear repeated listens.

Slight quibbles aside, there is plenty of gold to be found here.

There are times when it feels sporadic and fragmented--with so many different elements crammed in to each track--but ultimately, it is the sound of a band pushing themselves further than they’ve ever gone before.

This record feels produced, whereas her first release had the feeling of a bedroom recording. She may have lost the kooky melodrama and charm that she enveloped earlier on, but I’m Not Your Man feels strangely right, if quite startling in its shift in direction.

While the aesthetic of Lust For Youth’s music may be dated on a surface level, good pop songcraft tends to become timeless once people have got used to it. And this self-titled album of theirs is full of this, tunes that work their way into the listener’s head and successfully strike a balance of being nostalgic without being derivative.

The rousing music shows The Black Keys have plenty of rock’n’roll fire left in their bellies. ‘Let’s Rock’ certainly proves the electricity’s still there.

Overall, In The Belly Of A Brazen Bull is an impressive fifth album from the trio, one that contains elements of their earlier work, while also demonstrating the Jarmans' intention not to be constrained by one particular sound.

Forgiveness Rock Record might lack the romance of Funeral but it's far more alive than Neon Bible, with an urgency and energy that invigorates rather than drains.

They’re unequivocally, without question, 100% no longer a promising band to watch out for. Instead they’re an essential band to love.

The tension that gave those early albums their fizzing energy may no longer be there, but in its place is a band operating at a far higher level. Give A Glimpse Of What Yer Not is almost certainly the best album the reformed Dinosaur Jr have made so far.

Some may be turned off by the sheer melancholy on European Heartbreak, and yearn for the drive and verve of songs like It Changes. Yet, for anyone who enjoys soaking in sorrow, this makes for perfect listening. For anyone from other states of the European Union dreading the uncertainties of life post-March 2019, this album could at least be a security blanket.

Nobody Knows should be the start of a brilliant career, not the conclusion of a merely promising one.

Mainstream R&B fans may be baffled at various points, but there will be few more engrossing albums this year.

There is something beautifully moving and enchanting about NZCA/LINES' music, and his debut album is a wonderfully assured and measured collection of forward thinking electronic pop.

The band's relatively quick turnover suggests a restless creative spirit. However Sun Gangs harnesses that to communicate music of a raw emotional power, a record that should open more doors for the band than it closes.

It's the sound of past and future uniting to good effect--and Kasabian's strongest statement yet that they're in this for the long haul.

After just a few listens, it cements itself as the best Vampire Weekend album to date and, much like the New York City to which much of this album is an ode to, there are layers and layers to this record which are a delight to unpack and discover.

Faith In The Future may lack the life-affirming joie de vivre that The Hold Steady can invoke at their best, but if we’re to hear no more from them, there’s enough here to reaffirm faith in Finn’s future at least.

It all amounts to Hersh’s harshest offering in sometime, but it’s also the sound of an artist rejuvenated and inspired.

No one around sounds quite like Clor at the moment.

His debut doesn't feel like poor pastiche [of 60's-era Dylan and Donovan] but rather the joyous tribute of a teenager with the necessary chops.

The personal attachment to the material shines through.

The Inevitable End, whilst more reflective and introspective, is little different. If this is the end of this current stage of the Röyksopp story, it’s a pretty classy way to bow out.

Seeing Other People initially appears slick and self-obsessed, very nearly to a fault. But scratch below the surface and there’s tongue-in-cheek humour.

While The Mountain Goats will always remain an acquired taste, there’s a case to put that In League With Dragons is possibly one of their most accessible albums. The collaboration with Pallett is a smart one for sure, and Darnielle has refused to let age dull his edge or mischievous eye for lyrical detail.

Here Lies The Body might contain its fair share of matters of the flesh, but it’s also an album of depth, ideas and ambition that retains a highly personal feel. Moffat and Hubbert prove the collaborative Scottish spirit is in fine condition.

If Dirt Femme is the sound of Tove Lo finding her feet, the future seems very bright indeed.

For those that can stand the fact that this lot really do possess some talent, this might be another slice of Sub Pop to add to the collection.

It is a modern pop record to be cherished.

As ever, there's a jamming seam throughout the Malkmus landscape, with the likes of Brian Gallop descending (or ascending, more appropriately) into freeform guitar passages that, while inevitably slightly indulgent, are never less than engaging, tuneful and, above all, enjoyable.

It arrives with sharp impact, melding abstraction and direct sound to impressive effect.

The highlight, however, comes at the very end. The dense and deeply hypnotic title track Goodnight Oslo could well end up on the list of class A drugs the next time the government gets round to discussing such matters.

It’s that eclectic and restless nature that makes I Hear You one of those rare dance albums that sounds equally at home in the living room or in a club. Expect Peggy Gou to be the soundtrack to all the hottest barbecues and beach parties this summer.

His invention for beats and riffs is remarkably fertile throughout, and he applies careful and often striking shading.

Héritage will no doubt further boost their already strong credentials. There may be elements of familiarity here but there’s also a freshness and sense of integrated cohesion. In short, it shows them to be one of the best in their field, having lost none of their power despite on this occasion dialling down their sound.

In places almost carnivalesque, this is a good times album that celebrates positive aspects of the world.

Hummingbird may not be as instantly likable as Gorilla Manor, but its seductive beauty and emotional pull is virtually impossible to resist.

Fans of the band will love it--but anyone looking for a return to the good old days when albums were invested with tender loving care will want to hear it too.

Whilst Living Proof is very much the blues, Buddy Guy's solos give this a rawness that swells with discord, and the result feels more akin to the avant-garde guitar days of Sonic Youth and Shellac.

Once again the theme of emotional cleansing runs through much of the lyrics, though this particular well of inspiration has not yet run dry.

It's an LP wrought for enjoyment, and whichever peers it name-checks, whichever influences it acknowledges, it meets its remit with flair.

A La Sala succeeds in the way that a good AC/DC album does: more of the same, done well.

Hearts is not an album of change, but one that revels in the joy of what you know.

They've once again made a brilliantly over the top record.

This is a young band not taking themselves too seriously, and you can really picture them as they rock out and enjoy themselves.

Overall, The Ballad of Darren is a captivating sonic journey that goes to great lengths to ignore much of Blur’s rich legacy, but it shows that bands – even those long in the tooth – can still continue their musical growth without sacrificing quality.

It succeeds by flirting with polished pop sheen while also remaining grounded in bedroom pop roots. It may be a cruel world, but Humberstone’s songs make living in it far more enjoyable.

Stephen Malkmus’s career post Pavement has largely been hit or miss, but on Wig Out At Jagbags the hit quota is as high as it has ever been. This is the album that any Malkmus aficionado would hope for.

You don’t often have to wait as long for debut albums, but by taking their time and perfecting their first full length release, THOAP have created something truly memorable.

What Gnod has done with Just Say No is to keep their statements brief and ally them to a handful of bone-crushing and thrilling sonic vistas. Sometimes a catchy slogan and a fucking huge riff is all you need.

Patch The Sky is certainly a difficult listen but it’s not without a odd kind of sweetness--it’s full of grief and bleakness to be sure, but there’s also an exhilarating sense of catharsis to be had.

This is strained, evocative music that is able to relay deep, complex human emotions in very direct terms.

From the minute Unpopular Parts Of A Pig kicks into gear, there is no doubt that this is Mclusky. With its scratchy guitar riffs, thunderous bass, all driven by Egglestone’s pounding drums, it’s as if the last 20 years have just disappeared in a puff of smoke.

So When You Gonna... sets Dream Wife up nicely as a radical band their day, actively engaging with the major issues at hand, progressive in their sound and statements, and making the case for re-evaluating how gender is viewed in the music industry and beyond.

It shows Alison Moyet as a vocalist of immense sensitivity, feeling and lasting power. She is right at the top of her game musically and lyrically, delivering pop music that is more relevant now than at any point in her illustrious career.

This may be her strongest set of songs yet and, even if not every one of its experiments quite comes off, at least these are indicative of an artist who's not content to cruise on auto-pilot.

One Life Stand feels English in the best possible sense: it's cosmopolitan, unassuming and ever-so-slightly eccentric.

Without wishing to unduly gloss over the intermitting albums, Outbursts captures and builds upon the intangible beauty of their debut effort. Turin Brakes are, once again, a must-hear.

There’s no pretense, no illusion. This is two best buds having a rollicking good time.

At times Fleuves De l’Âme feels like the audio equivalent of unearthing a sunken chest of treasure and feeling the glow on your face of the iridescent colours that project from the precious stones inside. It’s also a reminder of music’s ability to transcend cultural boundaries and open up new worlds and Hedfi deserves credit for providing these positive experiences.

Stupid, clichéd, utterly ridiculous for sure, but done with so much pizazz that you can't help but fall for its charms.

It's a testament to their talent that by their seventh album they're still continuing to develop and reinvent themselves.

From start to finish, it’s a thrilling ride with some important messages of determination and empowerment that swirl above annoyance, frustration and resignation. Once again, the Berlin-based Newcombe has crafted yet another worthy addition to his portfolio.

For aficionados of his gnomic genius, and there are many, this new collection provides further reasons to invest time and money in his eclectic works.

Phosphene Dream is not a release to sing along to so much as lie helpless with whilst narratives spawn and play out in your imagination, invariably twisted and terrifying but always interesting. Psychological trauma might not necessarily be what you what you want from an album, but at least it provokes a response.