Poemss is very much a new venture for its makers that has precious little, if any, resemblance to their previous work. Instead, it’s something of a musical reinvention, and the possible beginning of a very fruitful partnership.

It provides evidence the Persson is capable of some breathtaking moments. And indeed there are a few such moments on Animal Heart, if not as many as might have been hoped for.

While her debut On A Mission was a bold hashing-together of genres, equal parts R&B-feels and electro bombast, Little Red rides a comparatively low tidal ebb. But there’s more than enough here to suggest Katy B will be bringing the tunes a while yet.

What could just be another run through a well-worn genre becomes an album that is worth a place in any serious library.

While Innocence might be easily lost in the pool of “alternative,” despite its flaws it is a strong addition to the band’s already prolific catalogue.

They’re certainly a partnership and there’s lots of adventure here. Dizzy Heights is certainly as inspiring as anything Finn has produced for a long time.

It hangs together well and the songs are decently written. But most listeners need something more, an undeniable quality that is completely unique to a band. A Unique Selling Point, if you will. Hospitality have not found theirs yet.

Xiu Xiu fans get exactly what they want from Angel Guts, while new listeners will either become diehard devotees or be turned off by the lack of originality.

It may not be entirely successful, but it could well be looked back on as the acorn from which a bigger tree grew.

The record is undoubtedly an enjoyable, comforting listen, one that provides an interesting trawl through Band Of Horses’ back catalogue. It is, however, unlikely to appeal to anyone who is not already a fan.

It’s a truly absorbing listen, almost effortless. For a band that have been through so much turmoil, they convey so much beauty.

There’s an effortlessness to their interpretation that stops them from sounding too calculated, though--you get the sense that these are four blokes whose enthusiasm for the grungey alt-rock bands of 20 or so years ago is so great that they can’t stop the influence bleeding into their own music.

It’s not a pretty world to live in all the time, but for a while the twilight tones are the perfect place to rest a broken or bruised heart, or just take some comfort from Marissa Nadler’s exquisite craft.

Augustines has always been capable of creating rousing songs, but this is an album full of them, and it never once feels too much or overstated.

They’ve stopped acting the comedian, and with this album they’re practically demanding that the world at large takes notice.

Sun Structures is a compelling listen throughout its 55 minutes, holding together perfectly as a whole with strong tracks dotted throughout.

There may not be anything new or massively revolutionary to attract new disciples to the Vega cause, but Tales From The Realm Of The Queen Of Pentacles is another reliably excellent Suzanne Vega album.

Unfortunately, while on Dunes’ better songs Gardens & Villa have succeeded at claiming their own sound, the issue that they currently face is that their sound simply isn’t very memorable.

Ultimately, by the end of Word Of Mouth, there is a feeling that it is more interesting conceptually than it is musically.

In many respects, the intent behind Along The Way is admirable indeed. Many plus points, then; even if just some variation wouldn’t have gone amiss. Much like Emeralds’ back catalogue.

Like a butterfly flapping its wings in the Amazon causes a hurricane on the other side of the world, Breton’s attention to detail has made the all-encompassing tone of War Room Stories differ vastly.

The world of CEO remains an intriguing, if frustrating, place.

In Too Much Information, they’ve made easily the most interesting and eclectic album of their career--they just didn’t quite include enough of those heartwarming hooks to make it their best.

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.

An at times minimal sounding album with steps and layers that build towards something. The music and the art stand apart, but they’re inevitably intertwined.

It’s not an easy listen and will send hipsters scurrying for their bobble hats and fake specs, but this is the sound of a band pushing themselves, challenging their audience and making something to be proud of.

The temptation to skip back to the start will probably creep in after a few plays, but stick with it and further, less immediate treasures will be revealed.

Occasionally there are moments of insignificance amongst the rocking gems and although these fall short of the band’s best tracks here, the contrast is another element that will likely add longevity to the album as a whole.

Some may find Tuttle’s hushed vocals a bit too insubstantial to last over the course of a whole album, and others may be turned off by all the psych trimmings. Yet fans of MMOSS will find much to satiate any need for a new fix and there’s enough evidence on this debut to suggest that Tuttle could well start to emulate those he holds in thrall, given time.

It challenges, questions and, quite frequently, unnerves. Despite all of this, you can’t quite stop listening. It’s a record that leaves you frozen.

Eve is yet another record from Angelique Kidjo that reaffirms her position as one of the most significant Africans performing today, and is the sound of her reaching out and celebrating the strong spirit and power of African women that she embodies.

Gibb continues his experimental combinations of genres and sounds while ambitiously weaving them into an album with a story about growing up, resulting in something flawed yet consistently captivating.

In the space of an album, we discover the difference between contented coupon cutting and chronic coupon cutting. It’s a strong testament to Feels Like Home’s sheer quality that such balance is present throughout.

It’ll never go down as a classic of the Crosby canon, yet it is quite unlike anything else he’s ever done. Perhaps it’s best summed up in four simple words--one for the purists.

Drowners is a fun little record, if you want to get all patronizing about it, but it’s difficult to get any further than that because of its staggering unoriginality.

Simplistic yet perfectly arranged, these songs are quite wonderful and open the way into a dreamworld that is familiar, strange, welcoming and every so often, quite terrifying.

Ultimately Into The Lime is a fun, if rather unexciting album.

With such impressive source material to play, they hardly need to embellish it.

It’s never dull and is sometimes quite extraordinary, taking multiple turns as it goes in order to keep listeners on their toes. Supreme Cuts is a scarce example of an artist moniker that well manages to sum up its own album.

This is a finely crafted homage to the late ’60s sound. Maybe sometime in the future Delt will really mess with the template, but for now, the devil (and the authenticity) is in the detail.

The movement towards synth pop is arguably a risky one, especially considering how congested that particular market is already. Yet, Cymbals show enough promise on The Age Of Fracture to suggest that they are in it for the long haul.

Snowbird have created a record to be cherished.

It’s another enjoyable album from a band quietly proving to be one of the more consistent groups around.

It is the work of a group of musicians finally comfortable in their own skin, with all the elements coming together in perfect harmony.

All in all, Dirty Gold is a solid first major-label album, one that is graced with several moments of brilliance.

None The Wiser is a highly enjoyable, infectious piece of upbeat indie rock that will surely see the band scale new heights.

Tranquilizers is an album that’s entrancing enough to survive its occasional foray into the lacklustre, and definitely one to cue up when the sky gets a little bit bluer.

To say it works well is an understatement.

Rateliff works best exploiting the depth and range of his voice against a spacious backdrop that doesn’t have to be downtempo to be dull.

For now, Shelter is a phenomenal start along a new path.

We emerge from the album into the cold light of day somewhat dazed and maybe even a little overwhelmed, but in no doubt of the incendiary power of what has just been experienced.

Waking Lines may not always hit the mark, but for a debut effort it offers lashings of promise for Patterns’ future if they can either hone their songwriting skills or take a detour down the lengthy drone-pop street

It doesn’t quite hang together in the way that an official Harcourt album does, acting instead as a kind of taster for things to come. Yet as aperitifs go, it’s pretty satisfying.

Oh My Sexy Lord is not an easy album to break down. It’s really designed to be consumed in one awesome lump, an electro-odyssey that unsettles and delights in equal measure.

Sophie Ellis-Bextor has just abandoned her electropop comfort blanket for a smothering duvet of clichés and ineffectual romanticism.

It is perhaps the most immediate and musically diverse album they’ve recorded.

Whilst mainstream success is unlikely, the cult appeal of Damien Jurado continues to cause those that do listen to sit up and take note.

It seems likely that those who discovered I Break Horses back in 2011 will initially be disappointed with Chiaroscuro, but it takes time for expectations to be put to one side and for it to unfurl properly. Yet when it does, it is truly wonderful.

Warpaint appear to have found a sonic texture that befits their knack for writing elegant, sinuous songs, so for the most part the album flows perfectly.

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

The musical evolution McMorrow has shown on this record will hopefully expand his audience across genres.

A great album full of songs both uplifting and danceable, emotional and cerebral.

On Love’s Crushing Diamond, Lee offers seven immaculately composed tracks, all of which feature his refreshingly optimistic ruminations on love and life in today’s world.

While James Blake came good on his Mercury prize winning second album, William Doyle as East India Youth has delivered a stunningly exquisite work on his very first go.

There’s a spirit of collaboration that is largely new, a genuine and warm-hearted celebration of past members’ contributions and a celebration of the rowdy, uplifting storm cooked up by the 18-strong modern incarnation of the group.

Cursing The Sea is an enjoyable listen from start to finish; whilst not possessing anything in the way of a number one single, the rawness and lo-fi feel will appeal to many.

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.

While Peace does not quite finish on the bang that would have really rounded off a great record, there is no doubt that it reflects the band at their most natural.

The result is an album that is, for the most part, merely pleasant.

When certain songs occasionally come within touching reach of greatness, it’s most often through their distinct resemblance to other acts.

As a whole, Painting is not a bad effort, with some nice tunes, though it’s all a bit dull and predictable: good brushwork but lacking inspiration.

K-X-P II is much more than an experiment in tinkering with vintage instruments and influences. The balance of a big, yet primitive sound is ripe for filtering south beyond the confines of the world’s second most northern capital.

Ultimately, although the softer, folkier moments merit attention, the album does linger in parts and really could do with a shot in the arm to lift its energy levels.

Each presents a very traditional, very organically energetic arrangement of a folk standard performed by undeniably contemporary musicians--emphasizing just how current many of these songs have come to sound.

Many previous fans may be slightly put off by the lack of wild abandon and experimentation, but there is a newfound lucidity here that is ultimately more rewarding.

It’s not an unqualified success, but it’s a guaranteed seller over Christmas. And, as one of this country’s more entertaining pop stars, it’s nice to have him back.

The End Of Silence is a tasteful look at the butterfly effect that is smart not to get caught up in the consequences of a moment, instead exploring that moment to the fullest and leaving you to wonder.

This is easily Beyoncé’s best album yet, a clear progression from her previous work and a musical triumph.

While Deaf Havana have worked hard to get where they are, there’s no getting away from the fact that Old Souls is a substantial step in the wrong direction.

Like 99% of all other Christmas albums, this will be mostly redundant come 27th December, but if you’re looking for a rather glum festive alternative to the usual Christmas fare, it’s worth checking out.

Join The Dots is a very good album, derivative maybe, but much more than the sum of its parts.

A better way to appreciate the record isn’t in one beefy sitting, but rather in bitesize portions. Devour it slowly and you’ll be able to savour its flavour.

Snow Globe, for all its charm, isn’t the record to re-instate their importance. Instead, it feels destined to languish in the oeuvre of vaguely interesting ‘alternative’ Christmas albums.

Her ability to micromanage is clearly great. It’s not the most unique take on folk, but it is rife with charm; her intimate, sympathetic sounds soothe the most restless minds.

It means Nick Cave & The Bad Seeds end the year as they began it: demonstrating they are a band in very fine health.

Sunbather is an emotionally overwhelming but truly absorbing listen. But best of all, it’s cleansing.

Overall, from the Hail To The Thief-like guitar line and giddy chorus of Ferocisimo to the undeniable Eras, Wed 21 is an album that might not change any lives but is full of surprises nonetheless.

One hopes that the Austin band takes lessons from both the successes and failures of Fellow Travelers: taking risks here and there often pays off, but don’t mess with a vocal formula that works.

While there’s no doubt that Fire Within is a positive progression for Birdy, it is not without its faults. On occasions she does slip back into the formulaic territory that encompassed many of the covers on her debut.

At the end of this quite exhausting album, it is hard to ascertain whether anything has been resolved. However, if this is what Krug needs to move on, then Julia With Blue Jeans On is a testament to the healing power of creativity.

It adds another fine collection of songs to her already impressive catalogue, songs whose inwardly-focused subject matter renders the music more restrained than the punky pop of career highlight Cyrk.

Spaces demonstrates a prodigious, world-class talent that shines through regardless of format or circumstance.

Smug, smarmy, metropolitan critics might declare the album generic and derivative, but the kid undeniably has tunes--more tunes than such people have ever written even in their wildest rock star fantasies.

This album is full of fun, and peppered with potential classics.

I’m A Dreamer is never going to set the world alight with innovative new sounds, but these songs are perfect little gems that possess a timeless quality.

Pretty, simple songs which nevertheless were absolutely littered with hooks.

Anyone enthralled by the previous album may feel there is something missing here. Instead, what we have is the true expression of the artist finding salvation in musical release and forging new paths using established forms.

Like the best Black Keys songs, the band’s tracks hold up independent of their pristine production as examples of how to combine undeniable talent, a love for the past, and a personal story to create a sound that’s simultaneously throwback and unique.