It may not have the instant listenability of We Were Here, and there are parts where it gets slightly bogged down but, in the end, it is another worthy addition to their catalogue.

It is no necessarily a bad record, but it is seriously lacking in memorable moments, which is a crying shame considering how good Oceans still sounds.

Williams doesn’t rely on heavy-handed sloganeering, and is more than capable of a light touch, administering impressionistic yet prescient lyrics that are indicative of his beginnings as a spoken word poet.

It’s by no means a bad album, but at this stage Chairlift are strictly second division.

For those expecting the worst ahead of Bloc Party’s return, Hymns is likely to validate all their fears. Change may have been unavoidable after losing two influential members, but to change beyond recognition is almost an insult to the original band’s legacy.

Whether this is Shearwater’s finest album is debatable; some fans may still miss the more rustic, hushed and unpolished vibe of 2006’s Palo Santo. Undoubtedly, though, it’s a record of confidence and passion, fronted by a man with plenty to say.

The Fat Whites’ second album is, then, something of a mixed bag, but the most offensive thing about it is not the lyrical content, it’s the fact that the band doesn’t seem to have the courage of its convictions and say what it means in an intelligible manner. Their edge has been knocked off in a cloud of reverb.

This is Suede right near their very best. They remain incurable, helpless romantics, barely able to control their wildest musical thoughts, and Brett Anderson sounds like he depends on them more than ever.

The Waiting Room is another immensely satisfying collection from a band always able--even after personnel upheavals--to explore multiple styles while remaining ineffably themselves.

It is instinctive but planned, primal but enlightened, and hazy but focused. The only sure thing about it is that it is Ulver’s finest work to date.

Emotional Mugger is a wild-eyed beast of a record; unafraid to stamp through the effects pedals with a delirious glee.

It has an astonishing level of clarity about it.

This is a quietly ambitious and exciting installment in the history of a band who may be happy (or possibly even destined) to remain under the radar but deserve something far, far greater.

It could so easily have been an ill-fitting coat worn loose on the shoulders of the original’s stark beauty. But these slabs of noise, where Cale picks at the wires like a scab, scarring and slashing old canvases to remake the old, add to rather than re-hash his legacy.

This won’t go down as one of his classic recordings, but nevertheless The Traveller is an enjoyable journey that shows its narrator still has plenty to say.

Although there’s a lot to enjoy here, with the band on something like the crisp, playful form of TNT, the best moments seem out of place and the rest a bit meandering; while previous releases have always felt thematically strong, even while jumping stylistically from Ennio Morricone soundtrack-isms and cool jazz to downtempo grooves and minimal drum and bass, it’s hard to pin down exactly where this is aimed.

A Coliseum Complex Museum, despite sporting yet another bonkers title, is a top effort that bolsters their burgeoning reputation, even if it doesn’t quite reach the highs of their very best.

With a natural ebb and flow, Curve Of The Earth is both a new departure for the Mystery Jets and their most consistent and rewarding album yet.

Despite the dark emotions on display, Not To Disappear is the sort of album that can sound oddly comforting, one to which you can gaze out on a bleak and snowy landscape, while musing over January’s travails, and take some sort of solace in. That’s the sort of thing Daughter do so well.

It is hard to ignore how limited, both musically and lyrically, the Darling Arithmetic tracks sound when played alongside their predecessors. However, despite its limitations, Villagers’ latest LP does succeed in producing some very worthy reinterpretations and weaving them seamlessly together, which is often easier said than done.

Confessions Of A Romance Novelist showcases The Anchoress as an artist of bold intent and kaleidoscopic ability. It is hard to believe there will be many more interesting, or better, debut albums in 2016.

Although occasionally lacking focus (unsurprising, since large chunks were apparently improvised) it is a quietly mesmerising piece of work that breathes new life into Yorkston’s career.

While Leave Me Alone has its flaws as an album, it’s the perfect summation of where Hinds find themselves at the moment. And when the sunny riffs of Castigadas En El Granero kick in, you’ll want to follow them to see where they’re going in the future.

It’s an album that sums up Bowie as an artist--restless, audacious, constantly looking forward to the next new idea. January may only be a week old, but that ‘Best Of 2016’ list already has a slot filled.

Until the release of this album, Shepherd’s output might have proved hard to follow for the casual listener, comprising as it did sundry white label releases, one-offs and remixes. Fortunately, Elaenia acts as a brilliant encapsulation of a huge talent.

As debuts go, there are flashes of brilliance, but Elsewhere is not consistently excellent.

It may not quite reach some of the highs (or lows) of its predecessor but it more than compensates in both its consistency and variety. It offers proof that stories of stagnation and decline in everyday life can still conversely inspire music of great value and beauty.

The skill involved in composing and producing A Paradise is not in question, but a little less cerebral meandering and bit more fun really would go a long way here.