To Those of Earth...And Other Worlds proves Ra's Afrofuturistic vision was very much for real.

Through the intelligent, measured expansion of the artistic characteristics for which he has been so respected since his departure from The Coral, Bill Ryder-Jones has confirmed his place among this country’s most vital contemporary songwriters.

For a project Woon spent four years on, Making Time is a surprisingly breezy listen. It feels a bit slight at times, especially given the lack of variance in tempo, but it’s hard to find much fault with this collection of smart, soulful work.

If this all sounds a bit linear, as though Etch and Etch Deep moves like a standard plot, well, that’s because it does. There’s no film to accompany it, but that doesn’t mean Haiku Salut’s second album doesn’t make for a fantastic score, providing a subtle emotional guide as it moves from point A to point B and each stop along the way.

Outside the relative intensity of “City Dweller”, sample-heavy “Do My Thing” and “Pulse”, “Gently” and “Deep Breathing” provide musical sorbets between the action. It’s some of the softest production Saginaw’s put out before, and is a welcome break on the tightly-spun ep.

Adult is fun for a little while, but it’s hard to see it keeping listeners’ attention for long.

Bleeds is a concise and heavily focused record that can proudly sit in and amongst his best.

Nothing continues his life’s work to twist and distort. To invert boundaries and genres and do more. Yes at times it seems like there’s a little something missing. Yes at times it could use something more. But there is and it could. It’s called Nothing. Sometimes that’s the point.

While retaining links with Toledo's DIY past, much of the tracks bleed in to one another, making stand-out moments such as "The Drum" and "Times To Die" fall flatter than they deserve. Fortunately however, the entire second half of the record makes up for any early indiscretions.

Mythologies is the sound of a band who've realised their previous limitations, improved on the sounds they're most comfortable with and invited us to listen to them discovering their ability to splatter the canvas with all kinds of beautiful mess.

There are undeniable moments of beauty (the radar-bleeping beginning of “A Light Above Descending” is lent a lovely, watercolour quality by its gentle horn accompaniment), and the live cuts tend to fare better than the studio recordings, imbued as they are with a tangibly excitability. It’s irrefutable though--much of Sea of Brass (by which I mean both the studio album itself and its associated extras) does feel bloated.

Courting the Squall is a collection of songs from a musician unencumbered by expectation or industry pressure, just Guy Garvey recording a bunch of tunes with his friends and seeing where his muse leads them. That free spirit gives his poignant solo material a fresh buoyancy that still sounds intimate, due to his estimable songwriting gifts and the band’s ability to not overthink these compositions and just let the musical magic happen naturally.

Pray For Rain sees Pure Bathing Culture taking a step towards an elevated form of the type of leftfield pop the band produced during their first outing, and in doing so, they’ve created an album wrought with subtle nuances and big ideas.

Musically speaking, there are a few hopefully upbeat indie-folk numbers to provide a certain spark to the otherwise bleak lyrical subject matter.

The idea that you can have too much of a good thing is thoroughly debunked with Thank Your Lucky Stars, such is the beauty of the songwriting and their uncanny ability to create an all-consuming mood.

It’s complex, witty, and--crucially--taps into a side of each man’s creativity in a manner hitherto unseen.

Temple’s chameleonic tendencies make it unlikely that he’ll release an album in this vein again. With that in mind, it’s best to enjoy Be Small for what it is: charming, skilful, and pleasing to the ear.

It's an album of disco sadness, dry ice cut by lasers enabling glimpses of people dancing in with tears in their eyes. The reality doesn't actually sound like much fun, but within the context of Now I'm Ready, it manifests itself into arguably the best pop record of 2015.

It's no surprise that the best tracks on the album are taken from her two excellent EPs that came before, full of that experimental, genre busting pop she wanted to achieve. The rest of the album, though, fails to truly inspire and stir up those same emotions in the listener that Sey so clearly has in her voice.

All We Need ultimately serves as another reminder that--with some seasoning--there is a great Raury record coming down the pipeline. This just isn’t it.

II is another step forward for a band who were once a side project, but now stand firmly alone and away from the shade cast by others.

With For The Company, Little May have added another worthy entrant to 2015's albums of modern blues and, unlike the relationships that inhabit its songs, it gets better with each visit.

As If, with its foot shuffling inducing melodies and rhythms, is an album that will delight both hardcore and casual fans, and will undoubtedly put a wide Cheshire cat style smile on anyone that comes into contact with it.

Cold Moon is an winter morning. Not a dark, brittle winter morning, but a happily futile winter Sunday morning, where the a few snatched hours of watercolor sunlight feel all the more precious for their scarcity.

Dilly Dally have crafted a well formed rock album that’ll surely go to make Katie Monks the next pin up girl of the anti-pin up girls.

“The Airport” and “Leaving the House” add piano to the partnership of Graham’s voice and MacFarlane’s guitar playing (he switches from a clean and quiet electric on tracks one to five, to an acoustic on six to eight), and the color it brings to both makes one wonder what it might have sounded like had it been included on the other songs as well. On the other hand, it’s a small revelation to discover how whole and affecting songs like “I Could Give You All That You Don’t Want” and “Drown So I Can Watch” can be with a few circulating quietly strummed chords and Graham’s austere and ecstatic declamations.

Whilst Central Belters has plenty of great music on it, it’s a confused marathon of a listen. There are too many obscurities for the casual fans, too many hits for the dedicated.

With a formidable knack for telling an engaging story in the space of a song, Divers is further proof that, as a lyricist, Newsom is second to none.