Even though there it no overarching message here beyond the powerful insistence on only living free, Segall has delivered a record with purpose that, above all else, recognises that freedom and love reign supreme.

The Pace Of The Passing is an expansive and ambitious record that should delight fans of Bombay Bicycle Club but also pull in listeners not be so acquainted with his previous work.

It’s not an exaggeration to claim that it is one the most honest, soulful and inspiring debut British rap albums since Roots Manuva’s Brand New Second Hand from 1999.

Apocalipstick is fast, furious and, most importantly, fun, making it the first truly badass album of 2017.

In short, Trials more or less achieves the goals the band set with Fear.

Even more consistently inspired than Eitzel's previous two, excellent solo albums (2009's Klamath and Don't Be A Stranger from 2012), Hey Mr Ferryman demands that Eitzel is at last granted at least as much attention and acclaim as his fellow songwriting Mark, former Red House Painters-leader Kozelek.

When Migration is at its best all is forgotten: Bonobo's ability to immerse the listener in a gorgeous electronic escapism is better than ever.

Menace Beach seem to be taking the opportunity of a rather ominous looking 2017 to create a pretty attractive alternative musical universe for them and their fans to inhabit.

Near To The Wild Heart Of Life is proof that, while Japandroids are still capable of the cathartic sermons that can lead to hoarse voices and declarations of love, they can break from the formula and deliver something fresh and exciting. It’s still life-affirming, but in a new way.

William Basinski has created yet another outstanding work of art with A Shadow in Time, an audio sculpture of serenity and bliss to begin 2017 and put what was a saddening year for music to bed.

When it's all done, you can hear that this is a good band, doing some good things but I wonder if with more focus or investment it might bear greater results.

Life Without Sound is a triumph of Baldi’s vision--for something bigger than just hard and heavy punk, and for rock and roll with pop intelligence. He’s pulled off both here.

While Hang doesn’t explore much new ground, that’s never really been on Foxygen's agenda. It's a great return all the same.

As a soundtrack to a new era where we’re all through the looking glass, old certainties bonfired and every phone alert quickening the pulse, Rennen hits the right tone--its rhythms shivering and uneasy, its melodies veering from melancholy to euphoria in a single stride.

The result is another record that provides ample room for the elaborate unfurling of Stelmanis’ talents as a vocalist, her altitudinous range the billowing banner of a call to arms.

In five tracks and just over 20 minutes, Not The Actual Events manages to build on Nine Inch Nails' past while stepping resolutely into their future. And after 28 years, we’re still excited to see what comes next.

This proves that it's Mike's rare ability to make powerful and relevant political music that sets him apart from the crowd.

Divisive as they might be, Cudi’s experimental urges are what make him interesting; on Passion, Pain & Demon Slayin’, he’s largely drowned them in a sea of unenlightened navel-gazing.

How refreshing it is to hear the sound of disaffection and fury channelled into music as cathartic and primal as this, rather than into either the kind of disorientated rhetoric that dogs our politics or the cowardly, disengaged pap which hogs the pop charts.

Cole’s most affecting statement to date.

In all, it's a glossy debut that certainly gives you something to shout about.

Their extroversion is by no means a dead-end and does show ample potential, but analogous to stepping out into the light after a period of darkness, one must become accustomed to the surrounding brilliance. At the moment, The xx’s vision is mildly blurred with sunspots.

At times acutely annoyingly, far-out wackiness permeate much of the proceedings, rendering the album's less rewarding half as disposable as the band's frustratingly inconsequential recent self-indulgences ala messy guest star workout The Flaming Lips and Heady Fwends (2012).

With Not Even Happiness she’s spreading her wings musically. There’s more polish to the production, yet the joy that is her storytelling, heartfelt singing and inventive guitar playing are the songs heartbeat.

Like the other aforementioned boxsets from Cherry Red, they eschew the ‘hits’ to get down to the obnoxious and primal heart of the genre, this is geeky crate digging in CD form, designed to entertain and educate.

Reflection is a product for everyone; not just the music lover. Yes, the music alone can be easily appreciated for its virtuosity; however, the whole package assists people with their day-to-day lives and provokes mindfulness and interaction with the wider world.

All too often, though, Peace Trail sounds like another case of Young chucking half-formed ideas at the wall to see if anything might stick before moving on to yet another project. That said, there are genuinely powerful moments here that promise of better things to come.

Whilst it is a pleasure to hear Tycho again with new ears, it's difficult to argue that what is being heard is anything new.