The debut is by no means a hit-packed record, pop is firmly on the backburner here and thrillingly it's precisely this lack of obvious choruses and instead the bizarre little instrumental interludes, spooky stripped down ballads which build and build and attacking grooves that will have you coming back time and time again to it.

After You may plough a relatively safe furrow in its construction and execution, but he is a very relatable singer, and the keenly felt blue-eyed soul on here should win him new converts.

Hawk represents the finest moment of the Campbell and Lanegan collaborations thus far.

It’s a record that, the longer you live with it, the more its little subtleties make themselves clear. It builds on the strengths of Collapsed In Sunbeams and ends up creating an even more rounded album.

There's absolutely nothing indecisive (or indeed shit) about this album. It's swaggering, full-throttle, full-throated genius.

This is a solid record from a talented producer who is well worth keeping an eye on.

There is a notable step forward, turning more towards a traditional soul style at the album’s core. There is a more natural groove, and the piano steps in more to complement the voice, even if this does sometimes lead to congestion on the instrumental side.

The chants, pipes and Afrobeat guitars might be facades, just like the masks and robes, but it doesn’t matter because the music underneath has real heart and soul.

Lilys have made a quite marvellous record.

The result is sublime, lost somewhere between a 3.00am Ibiza beach party, the Royal Festival Hall and the best soundtracked bedroom in the whole damn world.

The more ‘ambient’ tracks (entitled Hent I-VIII) are scattered throughout the album and simply consist of Tiersen tinkling around on his piano over the sound of birds chirping away. ... Yet this can’t distract from the beauty of the main piano tracks on Eusa.

As comebacks go, Dodge And Burn is a solid effort and possibly The Dead Weather’s most cohesive record to date. It’s just a shame that the band leave it so late in the day to delve into their box of tricks.

This is a characteristically strong, uncharacteristically sloppy (in a good way!), album by one of the few remaining shining lights of rock music. Greatness is almost a given at this stage.

This is music at something like its most natural, made by a collaboration who might not even have met but who have struck up a clear understanding despite the distance between them. More, please.

Femejism does stand up as an album, with Deap Vally’s strident attitude holding the songs together, but the quality of the material is a little patchy.

Submarine is the sound of the real Turner emerging to the surface, and it offers a depth charge to the age of the lazy movie soundtrack.

This is a fun record. Sometimes that really is enough.

Greenwood has recorded an eerie yet stunning score, and if Anderson's production is just as aspiring then filmgoers are in for a real treat for the senses.

Greys need be a little more subtle in their own palette. It’s a great noise, just not yet a great sound.

Odin’s Raven Magic captures the group reconciling their actual genius with the mountains of praise heaped upon them.

Too often on The Darker The Shadow The Brighter The Light you find yourself reaching for the earlier albums to listen to instead. While Skinner’s hardcore fans will be pleased to see him back, much of the time this feels a lot like The Streets on autopilot.

The vibe is overwhelmingly positive, not to mention a bit woozy - ideal to take the edge off a hard day and turn it into a good evening.

Their approach avoids downright imitation of their source material, and they somehow capture a broad swathe of popular music in their own style.

At 50 minutes it sometimes feels like some editing could have been applied a bit more judiciously. Yet that’s a minor criticism, as there are enough high points here to build on the success of AAARTH.

Whilst retaining the heartfelt beauty of his debut album, it is the subjects tackled on Love And Other Planets and the experimentation with which this is done that really shows Adem is reaching for the stars.

This is a brisk, bright and joyful album from a band who have been anything but those things in recent years. It’s recommendable for those attributes alone, but even more so when you start to get the feeling that this could herald a return to form.

Another reassuringly exceptional album.

Planet’s Mad is an intense listen, a runaway train devouring everything in its path. It’s also an absolute tour de force from an extremely talented producer who is only going from strength to strength.

These versions serve to highlight what we already knew, that Zola Jesus is a phenomenal talent. To have these songs reworked and in some cases made even more powerful than the original counterparts is testament to the skills and attention to detail of all those involved.

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.

Those with a more perky, fast-paced feel like Loosen Up, the lovely We Are Young, You're The Light, Show Me Your Life and the almost singalong album closer Oh No were more successful. Fortunately, these outnumbered the slower tracks; overall Lunglight is an enjoyable release.

There is also swagger to it all that suggests Holub and Led Bib are still, on their fifth album, trying to prove themselves. A little more space would have made for a more fully satisfying listening experience.

The two pianists [Craig Taborn and Matthew Bourne] share a penchant for timing, space and reflection that results in refreshingly honest and original work.

The Shape Of Things is an incredibly assured piece of work, machine like in its execution but revealing a soulful, tender exterior that we do not often see from the former Ultravox man.

Yet even with his occasional indulgences, No Sad Songs is an impressive comeback.

It’s a pleasing touch that, even with a megastar like Buck present, Haines never dilutes his vision – this concluding part of the Haines/Buck trilogy is as satisfyingly off-kilter as its predecessors.

Orbital are right back on form, sounding assured and instinctive, ready to seize the moment once again and take their music to another level.

Mature Themes is simple self-indulgence and that's rarely worth listening to.

When the band take a decent melody and build a whole track around it, the formula is a winning one; what won’t appeal to some though are the occasional meanderings where the spacey blips and bleeps appear to have no meaningful musical direction.

You can’t help but feel that given better production this could well have been the album of the year that some over-enthusiastic sorts claim. One of the surprises of the year, however? Definitely.

Foreverland is a blissful, heartfelt and often very funny paean to love and companionship. Some will no doubt dismiss it as too twee and theatrical for today’s musical landscape, but that is to misunderstand The Divine Comedy.

There’s little time to get bored, and there’s a distinct feeling that too much of this would be overkill. But for half an hour, it’s perfect. It may have had a painful journey with hellish events at every turn but Moveys is, for the most part, heavenly.

It showcases a remarkably assured collection of songs (at times sounding like The Long Blondes do surf-pop--in no way a bad thing) as well as a real depth and maturity to songwriting that dwarfs the offerings of its home-recorded predecessor.

For a debut album, there are precious few mis-steps, apart from perhaps a little too much instrumental noodling. But, aside from that, it is remarkably consistent.

Although this album is at times a difficult listen, you can’t help but admire Busdriver for his innovation and general wackiness.

Peter Broderick has clearly been in some dark places since we last heard from him, but here he is back on track--and for that we are abundantly grateful.

Individ is certainly a challenging listen. The intricacy of the drumming and the choppy vocal style are both compelling components and together represent the key ingredients that will determine a listener’s attention span.

If you're looking to buy this record on the back of Heartbeats you may be disappointed as it bears little resemblance to the Knife's current work.

An album which on occasion fails to inspire ends with a sense of unbridled pleasure.

She may have cut a slightly different path than she hinted at on Dead Flowers, but make no mistake: Caitlin Rose is the best thing to come out of Nashville in a long damn time.

Exotic Creatures of the Deep is a substantial, if inconsistent treat. Even when they're treading water Sparks still cut it better than most bands half their age.

In writing this stunning, emotive album Sarabeth Tucek has not only dealt with her own grief, but will undeniably help others in a similar situation, a perfect way to commemorate her father.

While this means that all is not lost (or perhaps more accurately, saved), it does leave the listener with a sense that he's not sure whether he wants to embrace a new direction or not, resulting in an album that is somewhat disjointed and ultimately unfulfilling.

The Dream Of Delphi is another starkly beautiful missive from one of our most consistent artists.

The result is a real evolution for Tunng, producing their most consistent and fully rounded album yet.

There are bound to be some people that just don't get it. For those that do, you are looking at a sure contender for your album of the year.

It’s the sound and pen of an artist who’s grown up in the public eye rewriting--or reaffirming--her identity. But that honesty sometimes comes at a cost. It’s heavy stuff, that at times feels more like an emotional release than an album she wants people to enjoy. Only with the last few tracks does she hark back to the upbeat, summery pop she’s perhaps best known--and loved--for.

This latest Toy of theirs is a lot of fun, even if it could have been better still had Meier had been given a bigger part.

The decision to segregate different moods and styles into these contrasting releases was a risky one, but it pays off in that both records remain interesting for their duration. Princess Nokia is for the most part a great rapper, but can sometimes lapse into an artless earnestness, as this enjoyable but patchy diptych demonstrates.

III is not a record that makes too many demands on the listener’s attention: its instrumentation is calm, unintrusive and balearic, and the songs tend towards a slow evolution rather than a formal structure per se.

All in all, The Hidden Cameras are typical of the avant garde, slightly off-kilter art rock we've come to expect from Canada, not a million miles away from what's being offered by fellow countrymen The Decemberists or Broken Social Scene.

Parastrophics is never dull, and there are some great moments on here. But occasionally it is a little too restless for its own good.

An album that merits--and rewards--repeated listening, this is further evidence of a band not simply in it for the short haul. Certainly no one-trick ponies, it will be interesting, exciting even, to see where Abe Vigoda take their music next.

Every one of these songs is blessed with that special something that the band impress on their songs.

It's a second album that builds on the success of the debut, expanding the sound without losing any of what made Jamie T so interesting in the first place.

This can't help but feel like a very good EP nestled within a merely good LP. But, if The Hundred In The Hands are to produce an unqualified success next time round, they needn't do anything drastically different.

As Is Now sees Weller revisiting various points of his varied career and updating them. So there's the brittle guitar pop of Come On/Let's Go which recalls The Jam, the pastoral, laid back vibe of Wild Wood in All On A Misty Morning and even the ghost of the Style Council is resurrected in Bring Back The Funk.

It does not do anything new or especially exciting, but what it does do it does very well indeed.

On Hymnal, Benoît Pioulard has succeeded in creating something rich and rewarding.

The more abrasive elements of Please mean that, on the first couple of plays, it might pinch and pull like a new pair of shoes. But, give it a fair hearing, and eventually Lerche’s resplendent melodies will shine through and something akin to a mild obsession might gradually take hold.

Disjointed maybe, obtuse certainly, but listening to this album is continuously rewarding, new images, new storylines, and new moments of disbelief at Darnielle's lyricism on every listen.

It would be a shame if S.C.U.M cannot escape from the oppressive prison that preconceptions have built, because Again Into Eyes is worthy than a better fate than that. Honestly. It's well worth a try.

There’s some filler – If You Only Knew and Window come across as a bit anonymous compared to the more ferocious tracks such as the title track or the almost feral-sounding Spit Shine. Yet, for the most part, Your Favorite Toy sounds like a band with a renewed sense of purpose, and one that is ready to use the pain of the last few years as an inspiration.

Vår manage to save a plodding midsection with tracks like the creepy, droney and dark Boy, proving they’re jacks of multiple trades.

In her quest to make her own brand of gimmick free progressive pop, Santigold has made an album that, for all its faults, intermittently works. And when it does hit the mark it does so exceedingly well.

For the most part, it is an assured collection of songs that exudes the confidence of an artist at the peak of her powers.

More than anything else, there's a sense of contentment and pleasure that purveys the Things Of The Past that could have been lifted from the Summer of Love itself.

Victory Shorts is the perfect addition to their oeuvre, building on 2006's Schmotime with the same irreverence and deep-seated emotion that turns a good record into a great one.

When you hear the body of work in these sessions, and witness at first hand the musical creativity and bond between them, it only leaves you wanting to hear more.

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.

Invisible Enemy // Crescent Moon is a brave attempt from its creator to change direction, but ultimately KT Tunstall’s limitations are laid bare on a record that meanders pleasantly without ever leaving a lasting impression.

If one yearns for bigger and better things from Goldheart Assembly, it’s only because Long Distance Song Effects suggests they really do have the potential for greatness.

The use of the light, nimble calabash instead of drums helps craft a subtle, hypnotic sound that eschews the rock dynamics recently incorporated by the likes of Tinariwen or Tamikrest. This approach creates music that is somehow simultaneously vibrant and contemplative.

Certainly, some people will find Aventine a bit hard to take – at first listen, it sounds so pleasant it just washes over, and it’s only on repeated plays that its dark mysteries reveal itself.

There are a couple of songs that feel a bit like half-sketched filler, means that Williamson’s fourth album may not come across many people’s radar. Yet for those who do chance upon it, there’s much to enjoy.

Confetti is a dependable album with recipe staples, but to keep future interest piqued, something new is now required in the mix.

What is clear is that the band’s songwriting will never be short of heft, with the potential to rouse a festival crowd. The Alchemist’s Euphoria will definitely do that, especially the primal, chest-bared early examples – and so for now the band look set to begin chapter two of their story with a show of strength.

Detractors might make the same comments they make about all heritage rock acts – the music is made obsolete by previous, better albums that they might not have liked in the first place – but they really can't say that Blue Electric Light isn't a considered, cohesive work.

Jon Hopkins has created something rather impressive, a work of symphonic dimensions that is compelling from first drone to last – and which achieves his stated aim of taking the listener on a journey. In this case the journey is akin to a voyage through space and time, creating a special musical experience.

It ["Too Many Rivals"] is one of the most beautiful and upsetting moments of an album filled with beautiful and upsetting moments.

Compared to the low-key and at times melancholic Nocturne, Life Of Pause is a rich and expansive step up that balances the old and the new perfectly to create Wild Nothing’s best album yet.

A good first try for an album, but it's just not quite there yet.

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

There’s the requisite lack of variety that ambient records beget, but no lack of depth in the sonic department.

The band’s second coming arrives with some added grit, mostly to the guitar and bass sounds, with more distortion in evidence than previously, even if it stops well short of out and out rock. Present once again are their appealing syncopated rhythms and riffs, above which the slight husk of Jack Steadman’s lead vocal offers shots of warmth and positivity.

The record dazzles with its detail, beguiles with its lyrical performances and leaves a lasting impression with powerful songwriting.

These songs, penned by such as Ennio Morricone, Mina and Fred Bongusto, have been treated with the utmost respect. Patton has ensured that they are as authentic as possible by employing a 15-strong band together with a 40-piece orchestra.

A beautiful, dramatic, idiosyncratic album from a beautiful, dramatic, idiosyncratic band.