[Chamber of Light] is like an exquisitely constructed mosaic of UK dance music signifiers, perpetually re-shuffled into new configurations and never losing that sense of possibility that lifts this album beyond the realms of nostalgia. LHF's modus operandi may seem anachronistic in 2012, but it's a damn sight fresher than most of the stuff out there right now.

50 Words for Snow is undoubtedly whimsical, but it's played and arranged so exquisitely that even the most po-faced should be able to acknowledge the scale of its achievement.

The methodical way in which the album has been put together is surprisingly artful and induces touching moments of real beauty.

These re-conceptualised variations still stick to her greatest strengths: pure musicality, melodic (re-)invention, and artistic lucidity.

Neurosis have not reinvented extreme metal on Fires Within Fires, and at this point it seems unlikely they’ll ever again record anything as gamechanging as Enemy... or 1996’s Through Silver In Blood. These albums and others give them ample credit in the bank to merely – merely! – bust out a new record every few years, tweak their various formulae, play by their own rules and timescales, and keep on delivering the goods in punishing, end-time-preacher fashion.

As a general rule on New Brigade, the faster, shorter and more atonal the tracks, the more intriguing the Danes become.

In Silver Ladders, Mary Lattimore brings the harp back down to earth still covered in clouds, but also threaded with veins of gloom that marble its silvery glow.

As a portrait of a great artist who has never stopped progressing and carving a niche that is equal parts challenging, enjoyable and moving, it does a brilliant job.

Whilst some may pine for the intense and explosive krautrock of their debut, the adventurous spirit with which they tackle post-rock, fusion and a universe of soundscapes ensures that this is the most exciting and volatile the group has ever sounded.

Central Belters then, works more as another addition to Mogwai's own unique literary cannon, formed of vast soundscapes, titanic chord sequences and loud-mouthed abandon that locks together the foundations of their power.

If you want to think about grubby late mid-century New York, go and read Just Kids or something. If you want a high-production, catchy album that’s cheesy, fun, and occasionally a bit naff, buy Daddy’s Home.

This is all instrumental, and as in Billy Idol's haunting 'Eyes Without A Face' these are songs that say so much without ever saying a thing, piercing windows into the soul.

While challenging intellectually, Fountain is also nothing less than a pleasing listen, like a delicate wine that opens over time.

Deafheaven have not just made one of the best metal albums in recent memory, they’ve made one of the best albums of the decade, full stop. It’s a powerful, honest record, and further proof that music always has new places to travel.

This experience of overcoming grave adversity and living to tell the tale exists at the thumping heart of Purple, and accordingly in the accomplished, passionate and fully mended band who has gifted it to us.

Aromanticism is an exquisitely well-crafted piece of work, which retains a delicate complexity despite its minimalism.

It conjures up a wistfulness for times you don't even necessarily want to revisit. Beneath all the complex layering of instruments, the whirlwind of sounds and styles, it’s these simple and powerful feelings that cut through.

Benji would have worked better as a series of EPs, playing to Kozelek's strength as a songwriter of certain stylistic preferences.

That anyone could craft work so head-spinningly euphoric, so joyous and life-affirming, as a deliberate response to the unmooring felt following the death of their partner and amid an ongoing war with their own mental health, is a kind of miracle. But that’s just the start of what’s marvellous about this magnificent record.

It turns out that Transangelic Exodus is a fitting title, then, for an artist emerging from his early career and crafting a new project that’s satisfying and unique.

Ba Power was recorded in short, raw sessions. It hits hard, yet ingrained in every track is the sense that Kouyaté is letting loose of his previous restraints. This, is surely Ngoni Ba as he always wanted them to sound.

The pared down arrangements showcase a set of mostly previously released material in a way previously unheard. The at times slightly slower pace reveals more depth and warmth to the arrangements and, if anything, offer more than in this form than they were originally presented.

The album has everything you expect from Suede: Brett Anderson’s astonishing voice, those pulsing baselines, the violins, the rangy impossible guitars, and the powerful drums. But it’s also a more mainstream record than they have made in years. Without losing what is wonderfully difficult about their music, they are bringing us what they are best at and offering something for people new to the band.

The enrobed duo of Stephen O’Malley and Greg Anderson have produced a beguiling work that distils the overwhelming impact of nature on the human psyche into 80 minutes of utterly transcendent avant metal.

[Jenny Hval's] most straightforward record to the date, full of colourful and warm sounds – as well as one of her finest pop tunes.

Timbaland, Kanye and Diddy are among the big names on the boards here, battling it out with lesser known producers, all gleefully playing to Pusha's style.... If Pusha T can keep this up throughout King Push proper, the forthcoming main event, he'll have the hip hop album of next year too.

There is a playful freedom on display from start to finish. By increasing the importance of the bass and keyboards (a move possibly inspired by fellow Swedish prog compatriots Anekdoten) and simultaneously writing with string arrangements in mind, the innate grandeur at the heart of this band’s music has never been as audible as it is now.

Simply, we are left with more evidence of a true American original, who was also as important in his own way as Harry Smith or Alan Lomax and other such college-educated curatorial spirits.