This is a very carefully thought out new page to Hayden Thorpe’s career, yet the page has freshly written calligraphy on it. There is much to admire and much to relate to, in what is surely just the start of this particular Wild Beast’s solo migration.

Arguments of purpose and meaning aside, Animal is an infectiously good dance-pop album, and by all meaningful estimations, a towering triumph

Yes, Heaton’s Rolls Royce analogy is a good and accurate one. The engine purrs again.

There is a epic scale to many of these tracks, and there is also an underlying and undeniable sense of violence. Yet curiously Aurora is also one of Frost’s most accessible and positive sounding records, and one of his most metallic and industrial efforts to date.

Alexander Tucker muscles up to his psych-folk antecedents to posit himself as an artist of singular merit, as comfortable within the realms of conventional song as well as the abstract sound world.

Tired Of Hanging Around is as delightfully quirky, original and catchy as its predecessor, whilst also representing something of a leap forward.

Cape God has an experimental edge to it that makes it one of the most delightfully weirdest albums of the year.

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

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

That, however, is before you take into account various Eastern influences that lace themselves around the guitar lines, not to mention some unexpected interludes of funk, hip hop and even swing. As a result, taking the whole record on board in one sitting is an intoxicating experience.

Together is certainly far-reaching in its ambitions, and it often seems close to collapsing under the combined weight of all its collaborators, but it never falters, despite its dangerous dance. The New Pornographers have taken a risk in fussing with their sound, but in large part it's paid off beautifully.

The album can be quite a handful at times, but if in search for a post-rock record that makes so much of an impression in so little time, one need not look any further than this.

It's the perfect end to a blissfully gorgeous album--one that showcases Ane Brun as being at the forefront of the new wave of Scandinavian pop music.

The Unfairground is a short and sweet collection of ten tunes, rich with strings, original ideas, lovely melodies and a whiff of what used to be.

From start to finish this is an album that possesses an alluring pull. Even when things are starting to sound a little sinister, the perfect guitar work, woozy vocals and hazy ambience that Tall Firs create is hard to ignore.

Less predictable was her now clear desire to take risks and step off the all-too-well-forged path of safe, agreeable background music. Instead, on The Fall Norah Jones chooses to defy categorization.

Though it might not be as rewarding a listening experience as Cooder's Cuban albums, this is still a set that demands repeated hearing, and I doubt there'll be another record as lovingly crafted as this all year.

Merrie Land feels like the perfect soundtrack for these uncertain, worrying times.

This is a remarkable debut that fairly sizzles with confidence and attitude.

Williamson has never been mournful in quite the same way that he is here, nor so disappointed in what he sees around him, whether it’s politicians, musicians or just ordinary people. This comes through not only in the lyrics but in their delivery.

Essentially, Commontime is business as usual for Field Music. If anything the mood is distinctly upbeat this time.

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.

Generally, this is a perfect introduction to the talent of Liam Finn - and even at 14 tracks, it never outstays its welcome.

While it might be criticised for not having some of the mystery characterising previous albums, Lost Channels is a blissful yet haunting record.

There are some slight missteps, like West’s tedious hook on Everything, but Nasir proves Nas’ ongoing relevance as one of New York’s biggest living rappers, with the best overall production and best quality control since Illmatic: the curse may finally be lifting.

The Whitefield Brothers have somehow succeeded in folding the world in on itself with Earthology. The sounds on this disc are mixed together in such a way as to be totally surprising, totally new, and yet completely cohesive.

Tempest’s lyrical dexterity and writing skills are phenomenal, no matter which way you look, and though some will be put off by the exposé offered here, others will be enamoured.

As with many debuts, AlunaGeorge’s album has remarkable highs but is tempered by a few weaker moments.