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 Yet, there’s also plenty of evidence of skilful management of sounds, elements being introduced and withdrawn at the opportune moment.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.

The Randy Newman Songbook Vol 2 is an invigorating celebration of the power of music, and a delicate declaration of the power of one man and his piano.

It feels engaged and defiant, but perhaps more inward looking than the inevitably direct political feeling behind Albala.

It’s not the sort of record you look to for big surprises or revolutionary moments, but if you’re looking for an excellent pop-soul record from an artist who’s going to be around for years to come, you can’t go wrong.

There may not be a track that grabs you by the scruff of the neck like 7/4 (Shoreline), but Remember The Humans reminds us that on the rare occasions that Broken Social Scene release a record, it remains a moment to be treasured.

While Wolfe’s incredible vocals are the main draw, her long term collaborator Ben Chisholm deserves significant recognition too. Not only does his fuzzed-to-fuck bass make these songs feel genuinely threatening, his manipulation of sound and creation of washes and collages provides unsettling backgrounds for Wolfe to weave her magic over. Without him, the oppressive atmospherics of the album wouldn’t be nearly as effective.

Whether John Wizards’ debut album has lasting power is impossible to know, but for the moment, they’ve wholly succeeded in at least making something to appreciate.

Anyone looking for party bangers may be disappointed (apart from Natural Skin Deep) but Broken Politics is the sound of an artist growing and maturing very nicely. These are intelligent, beautifully crafted songs to sink into and luxuriate, and tracks like Black Monday and Synchronised Devotion will live with you for months after first hearing them.

Whilst R.I.P. certainly has some of the cold detachment that often characterises electronic music, it is also a remarkably thoughtful and creative work that has clearly benefited from a more personal and human compositional approach.

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.

The band’s third album has a raw power which has the ability, at times, to stop you in your tracks. It’s also their best work to date.