Deeply hypnotic, by turns soothing and unsettling tracks.

It has a versatile feel and can easily be used for both out of body meditations and out of world journeys.

That Shadows In The Night is almost as convincing is a welcome reminder that for all his understandable plaudits as a poet and songwriter, the latter-day Dylan is primarily a protector and reviver of arcane American music traditions--and, above all, a genuine vocal stylist.

It’s a fine tuned record that leans into bold pop refrains whilst gripping firmly onto its DIY roots. It’s an irresistible listen.

Their second album is ultimately the sound of the band exploring the myriad influences that make up their sonics, in doing so realising who they are and focusing bloody-mindedly on driving the point home.

Three excellent albums in, Calvi has produced her most complex work to date.

Musically incredible and conceptually spot on.

With Krieg und Frieden (Music for Theatre), Apparat has created yet another awesome dimension to his diverse catalogue of releases.

I Walked With You A Ways almost certainly won’t go down as the most definitive work of either Crutchfield or Williamson’s career, yet it is unmistakably the work of two phenomenal musicians at their peak. Tasteful, affecting and melodic.

Shepherd in a Sheepskin Vest isn't perfect. Its sprawl lacks the tight focus of Dream River, and a few of the tracks drift in and out of focus. Give it enough time to cohere, however, and this largely successful attempt at rebooting Callahan's songwriting soon acquires a hypnotic pull.

For All We Know is among the most impressive debut albums we’ve heard in 2016, and heralds the arrival of Nao as a unique and fascinating figure on the R&B landscape.

Less thematic or cohesive than other records, Smote Reverser is, quite deliberately, a record that sounds like an endless stream-of-consciousness, with no underlying nucleus that pulls it all together. Any of these tracks, each so distinct from the others, could potentially hold the charm of the record.

[A] fantastic sophomore effort.

Ashnikko revel[s] in her playfully acerbic humour, but also explores friendships and the emotional vulnerability behind her facade.

This record blurs the lines between religion and atheism--it's a vital challenge to the inflexible labels that we are often asked to identify ourselves by. Alongside this, musical traits indicative of Glasgow greats see them nestle nicely into a thriving scene.

Rarely have they sounded so good.

PJ Harvey’s honesty and raw sound throughout Dry is what makes it an album that continues to stand the test of time.

Moonshine Freeze is an album that sparkles with exuberance and energy, but it also subtly and steadily gives up its deeper secrets. Stables has always had a knack for accomplished melody and intriguing lyrics, and as you dive under the surface, you can’t help but find a wealth of inspiring rewards.

Dungen are back, the same as ever but a little bit more so this time around.

Sea Girls are taking the torch from guitar-pop pioneers, and telling stories with just as much strength.

It’s a testament to his cohesive sound and willingness to defy convention that this record, despite a lack of samples or anything really resembling typical electronic music, conveys emotion as well as it does.

Although this is hardly an essential release--few live albums ever are--it’s no victory lap or self-indulgent unit shifter. Its true value lies in its function as a worthy addition to the latter-day Cohen canon, as a reminder that he is still an active, relevant artist and performer, rather than a self-aggrandising nostalgia act.

Mass appeal might be the only thing missing, perhaps not possible for a band that has to asterisk their name sometimes. It’s not stopped them from perfecting their place in vibrant scenes that have scaled to wider appreciation, and with I Got Heaven now in the back pocket, few groups deserve a share of the limelight more.

They’ve slowly yet surely gathered momentum and a self-assurance which can be heard in abundance on the record: closer “Boring” is proof that Our Girl are truly in their finest form, producing a debut that is anything but.

I can feel you creep into my private life never feels worthy or didactic, partly because its component doubts and sorrows nonetheless conspire to a joyous union.

Off With Her Head is both focused and commanding. Her varied approach to songwriting and crafting results in some of her most unrelenting work yet, and its messiness is charming rather than trying.

There is a lot to appreciate here: Gnod have proven themselves adept in new areas, at carefully crafting tension and unease that hovers on the precipice of climax, in what's the heaviest record of the year so far.

Run Around The Sun retains much of that same flavour [of Strike A Match], continuing to base the duo’s agitated progressions at the core of their sound.