Like many of James’s records both as a solo artist and in My Morning Jacket, Uniform Distortion occasionally suffers dips in quality control and consequently the truly great album you feel he’s capable of is once again frustratingly elusive. But it’s still an absolute blast.

All Eternals Deck sees The Mountain Goats deliver their most assured sound and Darnielle his most profound poetry.

Hate For Sale is surely one of the best albums this legendary band has produced, vivacious in a way that could even rival fan favourite Learning To Crawl.

Throughout Sonik Kicks, it somehow feels as if the Krautrock vibe is a needless intrusion, an unnecessary welding and meshing of styles.

Queens Of The Summer Hotel sees her consolidate her position as an adept songwriter capable of addressing difficult subjects with empathy and beauty.

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.

Although there’s nothing ostensibly new about this album, the overall feel and vibe running throughout does at least give a feeling of overall unity. These songs have been given a uniquely peaceful freedom.

With so many talented people involved, Humanz was always going to have its moments, and it is undoubtedly an engaging, intriguing and bold record. Yet when compared to Demon Days or Plastic Beach, one cannot help but feel just a little underwhelmed by the songs here.

Some tracks may dip into generic mid-tempo dancefloor fodder, such as Why Does The Wind, but overall this is up there with some of Thorn's best work since Everything But The Girl.

Their end product is one of the freshest and most exciting guitar records since... well, since Field Music (Measure).

Be it the sawing blasts of guitar that rushes you through the poignant Lose My Way, the spiralling vortex of Dead & Gone, upon which you helplessly bob along in or the careering momentum of Kopter, it's never anything other than intoxicating and brilliantly realised.

You and I may die, but we can all rest easy in the knowledge that not only shall hardcore never die, but neither shall Mogwai. Long live the kings of post-rock noise.

An album of gentle, if sporadically confusing, beauty.

As an overall piece of work, Songs flows seamlessly, with the consistency in mood and tone and meticulously crafted arrangements meaning not a note sounds out of place.

Peer between the lines and Eitzel has lifted off some of the weight to create his most redemptive, mature work yet.

Nevertheless, like British Sea Power have recently done with Man of Aran and From the Land to the Sea Beyond, Mogwai have again produced a soundtrack that stands up as an album in its own right.

The Lucky Ones is unlikely to garner any new fans for Mudhoney, which is a shame because this is one of the best albums of their career.

Ultimately this is a solid record, if not necessarily one that will change either the world or people's perceptions of folk.

There are a number of misfires, and no amount of positivity can hide them.

The essence of what made Penguin Cafe Orchestra is here: the music is dreamlike and does indeed touch the heart of the listener.

An album ram-packed full of top-notch melodic synth-pop--a triumph from start to finish.

It is pop music for the future – unpredictable, forceful, winsome and primal in equal measure. As long as Aurora is allowed to keep her eyes wide open, the sky really is the limit for this powerful creative force.

It never once drags or feels like a chore to listen to, for she pulls you in and keeps you enthralled for the duration. She does this across the entire album.

Contentment for Cosey Fanni Tutti also means restless exploration – and there is plenty of that in evidence, creating an album to savour.

An album of bona fide radio hits in an ideal world, a fine example of mainstream rock at its most tasteful, music that’s going to be popular and sell a lot but that’s not afraid to subtly defy expectations of what its makers are.

This is an album rich in ideas, heavy on emotion.

It may not be the liveliest 35 minutes of the year, yet it’s filled with memorable imagery and some heartbreaking songs. For anyone who’s never heard any of Marissa Nadler’s work before, For My Crimes makes for an excellent starting point.

A surprisingly intimate, thought provoking and occasionally startling listen.