awE naturalE gives us a beguiling glimpse of an unfettered talent that most certainly is promptly, and most satisfactorily, on track.

It says much for Felice's talent that in only briefly showing his scars he can still make a commendable album.

Both Lights [is] both a complex and fascinating listen in equal measure.

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

Overall, I Love You, It's Cool is a solid, but unspectacular, return from Bear In Heaven.

Iradelphic is certainly Clark's most accessible record and it is arguably his best.

A rousing and eye-opening full-length debut.

It's far from self-indulgent; their song choices and clever arrangements make Rant a real, if unexpected, delight.

As it is, Divine Providence is very good rather than truly great.

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

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.

The only true misstep on the album is at the mid point in the shape of Steepless. For the most part this album's music is to be basked in, and after half an album of instrumentals, being suddenly presented with vocals is rather jarring.

As it is, Mountain Echo is a debut that is unlikely to offend, but it's unlikely to provoke repeated listens.

Where RMX works, it is outstanding, but it is let down by too much flabby excess that for all its artfulness, weighs the album down like a millstone round the neck.

Cowley has crafted a coherent, carefully planned suite of music here with a strong conceptual framework and a remarkably consistent sound.

While it's quite pleasant and occasionally curious at first, the novelty wears off.

As a complete album [it] lacks any depth or cogency.

Sounds drift in and out of the mix, but rarely in such a way that they have much of a lasting impact.

The Gates Of Throop And Newport is an emotional work, but it is a collection of songs rich in classy Americana and in affecting melodies. A very impressive second album.

Acousmatic Sorcery won't propel Beal to Lana Del Rey levels of fame ... it's too weird, too spooky, too idiosyncratic for that. For those who do connect with Beal's gloriously skewed vision though, you're in for a treat.

While their vision may to many appear decidedly singular, the music itself is highly accessible and polished, and comes with a sense of being a carefully considered, fully fledged complete package.

A little more focus and coherency would've made it a great record rather than a good one, but as an intriguing curiosity it is another excellent addition to Albarn's ever-growing list of projects.

For those with the stamina, it's tremendous.

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

With razor sharp, expletive-ridden lyrics and tight beats aplenty, it's undoubtedly Odd Future's most accomplished album to date.

It is no doubt a big risk leaving behind many aspects of the sound that made her name but on Interstellar, she advances her sound so expertly and compellingly that it is a risk that was well worth taking.

When it comes to partaking in pop, MDNA has easily set itself out as 2012's go-to drug of choice.

Such an impressive cast might initially give rise to the belief that this might be an album that delights in twisting the conventional, but in truth everyone plays it fairly safe which is likely to disappoint those hoping for something mind blowing.