The Inheritors is a rich and vivid work that is as mysterious as it is compelling.

There is pain, frustration, beauty and love whistling away in every crevice of this album.

At times The Decemberists sail close to being an horrific hybrid of They Might Be Giants and The Coral - all arched eyebrows and accordions.

This is a very carefully thought out new page to Hayden Thorpe’s career, yet the page has freshly written calligraphy on it. There is much to admire and much to relate to, in what is surely just the start of this particular Wild Beast’s solo migration.

Musical diversity has been embraced to better reflect his character, whilst a positive tone remains, even when he’s examining negatives. No longer is McKenna a teenager emerging at Glastonbury, he is someone for the generation he speaks for to listen to.

Like much of Richard Dawson’s material, it’s an album that has to be immersed in and savoured – and although it may be a struggle sometimes, there’s nobody else out there making music quite like this.

Altogether a belter of an album, then, as their reputation for consistency prevails once more.

The emotional impact of this music is sometimes disorientating or alienating, but that is probably the intention. It's mostly impossible to discern the lyrics or comprehend their themes. Somehow this doesn't matter, given the striking, weird and often turbulent music beneath.

It's a work of craft from a continually rewarding, continually American, singer-songwriter.

Everything Everything return with Fever Dream, a brave, boundary pushing album which shows many of their peers how things should be done.

Caroline Rose’s most personal album to date which, while it may not have the immediacy of Superstar or Loner it will, given time, prove just as emotionally affecting.

Cold Spring Fault Less Youth is an album that’s as purposefully awkward as its title: cleverly put together, but occasionally just not very much fun.

There’s the bones of at least three spin-off albums within its grooves. Yet, this constant shapeshifting means that there’s much to be discovered and loved here. Sounding different every time it’s played is the mark of a great achievement.

Whilst the linguistic half of Sleaford Mods is developing in two very different directions, Andrew Fearn has turned in his most musically satisfying set of tracks to date.

Quite comfortably the duo’s best album to date, Unity is – literally – like all your favourite bands rolled up into one.

By the time the album’s 54 minutes have drawn to a close, you feel exhausted but in the best possible way.

Inspiring and ingenious, this is an album you shouldn't be without.

Lopatin dispenses with radio’s interchangeable verse chorus verse format, instead replicating the labyrinthine ways the internet once promised formerly unreachable music might become graspable before being commoditised.

As an exercise in maintaining artistic form, it's an indisputable success.

It’s a brilliantly consistent and, at eight tracks, concise offering that perfectly captures their sound.

This is very much an album that feels necessary right now--one that packs a political punch without being didactic or evangelical--and offers positive thinking, including a clarion call of co-operative and community responses to global issues.

It’s an intriguing album with few dips (only Kanye’s verse on Puppet sounds rather phoned in and lacklustre), and it adds up to Tyler, The Creator’s best work to date. He may not be threatening Western civilization anymore, but he is creating something far more interesting.

Your Future Our Clutter is a tight, coherent, rock-out album--and it's great to see some discipline back in The Fall after years of scrappy offerings.

R Plus Seven is as singularly compelling as any of his previous releases, but in his desire to transcend glossy hyper pop and introspective electronica into something new and fascinating, Lopatin has delivered a masterful debut for his new label.

Push The Sky Away demonstrates that even in his 30th year, nobody delivers a lyric quite like Nick Cave.

The Constant Pageant--particularly its first half--does indeed rock, and not just by the standards of folk music.

With the third in his Essex trilogy Darren Hayman has surpassed himself, creating an album that is intelligent, heartfelt, and musically stunning.

Something wonderful and terrible has happened in the world of Shabazz Palaces, and there’s no choice but to join the wild ride.

It’s beautiful in its own manner, and thankfully avoids the one-sound pitfall into which ambient music may fall.

In the face of this conflict, the only other option is to face up to the now, with all the problems and issues that go with it, and the album is at its best when it does just that.

Sometimes, Kinsella keeps it simple (as on the acoustic lament Headphoned) while at other times, such as On With The Show, the sound is more lush. It’s a testament to Kinsella’s abilities that he can pull off both equally well.

Fur and Gold announces Natasha Khan's Bat For Lashes as a talent impossible to ignore and beguiling to behold, an album that, time and again, plucks one away from the mundane and offers a bewitching alternative galaxy of delights.

While as a whole it’s disjointed, and the variation could hinder its success, Arbouretum have undoubtedly released another good album.

It is apparent from the start that the album is a valuable piece of work in its own right however and its reclaimed origins should not bring any negative preconceptions.

The conventional instrumentation and song forms might lead some to consider it a conservative work--but its uniquely personal dimensions suggest otherwise.

It's hard to go into explicit detail on Music Sounds Better With You, simply because of how happily delightful it is.

The album also reflects the rebellious nature of Haiku Hands, throwing two fingers to the male establishment through a sound which is provocative and tantalising, one which sets about establishing them as a new powerful female voice in the era of explicit pop.

In lesser hands this mélange of vocalists and styles would be an unholy mess, but with experienced mood masters Raymonde and Thomas at the tiller In Quiet Moments is holistic audio balm to soothe, hug and give hope in these ‘unprecedented times’ and beyond.

I Speak Because I Can is, without doubt, an album to really delve into, and one to lose yourself in for hours. Added to that, it asserts Marling as one of this country's most talented young songwriters; our Conor Oberst or our David Berman.

If you loved Tindersticks then you will adore this.

It all adds up to an emotionally gruelling record that’s patently not intended for passive listening. But it’s an album that’s worth steeling oneself for.

The influence of new blood mixed with Paramore’s own distinct sound has created a vibrant, melodic record with sing-along choruses, and although it flirts with the softer side of the rock spectrum it’s still one ballsy album.

What it is, is a fine follow-up to 2009’s Halcyon Digest and another example of what can happen when a brilliant songwriter retreats into his own head and comes out with visions of monsters.

Partly cartoon, part Sesame Street, and with a healthy dose of consequence-free childish threats and violence, A Cold Freezin' Night is a welcome distraction to the meandering electro-drone that populates the rest of the album. But from here on in, it's a case of the law of diminishing returns.

Hardy's undeniably a talent, and Songs Lost & Stolen is a tasteful, better than average folk record that many aficionados will enjoy, but it lacks that extra ingredient to make a lasting impact or reach a broader audience.

There is more to Short Movie’s context than odd details, avant garde references and the philosophy of hippy shamans. Marling has long been able to trace a musical lineage back to heavyweights like Neil Young and Joni Mitchell, and this is cemented here.

An album that showcases the development of an artist who seems to get better and better as the years roll by.

Whilst Psychedelic Porn Crumpets remain an attractive proposition, this outing would perhaps suggest that they’re starting to cool off a little after the hot, toasting stage they enjoyed with their first two releases.

Akin to falling asleep next to an electric fire whilst snow begins to fall, Camila Fuchs have created an extrasensory gift of a record, one that is affectionate, woozy and a comforting delight in these most taxing of times.

Present Tense is yet another unusually powerful invitation to savour a few abominable maledictions by these wicked vagabonds.

Tiersen’s gamble with electronics pays off handsomely, the listener rewarded with a lingering insight into his world. A beautiful hour spent in the company of a fine musical mind.

Reeling is undoubtedly a solid step on a road to a successful career, and one that will find this band honing in on both its desired path as well as strengths that will become clearer as time goes by.

From start to finish, it’s a thrilling ride with some important messages of determination and empowerment that swirl above annoyance, frustration and resignation. Once again, the Berlin-based Newcombe has crafted yet another worthy addition to his portfolio.

One of the best Pet Shop Boys albums in years.

The tracks continue to balance deep, droning synths and fuzzy percussion with Marling’s folkish phrasing and occasional, vaulting shifts in pitch, to not much effect.

An exuberant and heartening spin of the songwriting wheel, a carefree and not overthought documentation of how creativity can be harnessed and fledgling ideas brought to realisation More importantly, it’s a valuable addition to his catalogue that should provide happiness to many.

This fourth album shows Sharon and The Dap Kings at their most polished, funky and soulful. Mrs Jones sure has got a thing goin' on.

Sacred Paws strike a match by igniting the themes and musicality of their record, and the result is hugely satisfying. There is something ballsy and defiant in the simplicity of the duo’s approach and directness.

'Allelujah! Don't Bend! Ascend! rewards immersive, though somewhat uncritical, listening: a glorious hymn to the visceral and transformative power of sound.

Years & Years offer a blueprint for UK pop that carries on the lineage of Pet Shop Boys and George Michael but is also forward-thinking and connected to the broader scene. And that really is something to be proud of.

There’s a nagging feeling that they may still be a bit too obtuse for commercial success. The rest of us can just enjoy one of the early musical highlights of 2018.

Maraqopa is, at times, a sumptuous sigh of a record, the sound of a man exploring a territory he's earned the right to claim as his own.

Boy From Michigan is not an easy album to get to grips with, nor is it one for background listening. For those willing to put the work in, this is another invigorating missive from one of music’s finest minds.

For those intransigent souls, there will always those three EPs to listen to. Everyone else can feel free to luxuriate in the wintry delights of this fine record.

Brief moments of respite and apparent simplicity allow the more aggressive and expansive moments to really resonate.

The soundfield on Tonight There Is Something Special About The Moon/ Jaki Księżyc Dziś Wieczór… is just too cluttered, whilst the tuning-radios-whilst-the-bath-empties vibe of Anti-Antiphon (Absolute Decomposition)/ Anty-Antyfona (Dekonstrukcja Na Całego) veers close to ambient cliché. Still, Regards as a whole is a rewarding, absorbing listen, and is liable to instigate an outbreak of searches for Schaeffer originals in obscure corners of the ‘net over the coming weeks.

Hadsel finds Condon reinvigorated and replenished, confirming his status as a talented conveyor and instigator of emotions able to deliver consistently beautiful music regardless of the source.

It is a polished sound, one the band does very well. The musicianship is solid and the mixture of high-energy vocal performance with the instrumental post-rock passages is uplifting and at times enthralling.

Saturns Pattern may lack an apostrophe but there’s nothing missing from his musical grammar. He’s still in his prime as a musician.

World Eater thrives on the tension between anxiety and peace, nihilism and love. That’s tough stuff to reconcile, but Power attempts it in muscular yet heartfelt fashion. This is an album that will shake you senseless, eat you up and spit you out. And it’s worth every minute.

Anyone who wants a nostalgia rush back to the Commotions days may be disappointed with On Pain, but for everyone else this is an effective indication of an artist steadily on his own path, and doing very well out of it.

Lie Down In The Light is the sound of a musician at ease, quietly and calming experimenting with his sound and subsequently coming up with his finest work to date.

Working with producer Chris Coady, I Break Horses embrace the power of slowing things down considerably. Many of the songs rarely get as speedy as a trot, and indeed, the opening track Turn, takes a good nine minutes to slowly detail a dissolving relationship. This, then, is music to get lost in, even when the content is at times worrying and dark.

If this were the debut album of a new group it would be celebrated as a fantastic example of the visceral and cerebral pleasures of a singularly oppressive style of psychedelic metal. As with all of Jarmusch’s projects, it’s an acquired taste, but a powerful one.

It’s fair to say that long term fans will greet Nothing Lasts Forever with warmth and delight but even when assessing it with a more critical eye, it’s hard to avoid thinking they’ve rarely sounded better.

An excellent debut album, full of brash confidence and seductive charm.

Of course their music is heavily in thrall to the 1960s, but they wear their influences with an easy-fitting indifference, like a comfortable jacket.

Atomos is an outstanding, thoughtful piece of work which should see their reputation rise to a new high.

ts concise nature, glossy finish and sense of clarity (something that even extends to the band photography) suggest that, as strange as it might seem, this is not a return to Sunn O)))’s metal roots, but is instead, for all intents and purposes, their pop album.

Best of all, it’s an album that cuts all the fat – it’s just 11 tracks long and there’s barely anything that feels like filler. Even the more generic sounding rockers like Waiting For Stevie and Running have a palpable energy about them that will no doubt make them firm favourites on the band’s upcoming stadium tour.

Most of the time, it's run-of-the mill soft rock.

Paradise is the sound of a more mature and confident Slow Club, but without losing that adorable edge that's so vital to them. Start clearing some space at the top of those 'Best of 2011' lists, for this is sure to figure.

The simple fact about Death Grips is they will divide audiences. Some will take to their hardcore pandering. Others will scuttle back to their FM radio stations.

Girl Friday are quite clearly on their own path, and all the better for it.

This is a band that don't sound like anything else around at the moment, who aren't afraid to experiment with hip-busting funk, rock and power pop all jumping into bed together.

Are they a country band playing alt.rock or an alt.rock band playing country? These questions are pointless. They are simply and sublimely Lambchop, and we are lucky to have them.

Heartache has inspired countless songs and albums over the years and if nothing else Old Flowers shows how humans will continue to turn to music for comfort in times of sadness for many years to come. These songs have clearly provided solace to Andrews and it’s likely they’ll do the same for others in similar need.

A beautiful album that proves that sometimes more is more.

It's a rare thing to find an album that is a real, unexpected pleasure to listen to all the way through.

Jamie T bares his soul on Carry On The Grudge to the point that, by the end, it’s almost impossible not to love him for it.

Maya Shenfeld’s towering achievement is to craft a highly effective polemical record with no words, the music saying all that needs to be said: throw in imaginative sound design and a deft approach to pacing and the result is an out-and-out triumph.

Overall though, this is another wondrous album from a band at the height of their considerable powers.

Comparisons with his subsequent work are inevitable and this feels like a disappointment when put alongside the more accessible likes of Donuts.

Shepherd’s work may be hyperactive at times, and is a dizzying listen when the chord progressions and rhythmic flights of fancy become congested, but it is an exhilarating ride that proves every bit as enticing as its cover.

While not every song is as successful--Mrs Lincoln… doesn’t make quite enough of a very old joke (compared to, say, …Beethoven’s How Do I Get to Carnegie Hall?), and A Little Bit Like Fun is a little bit slight--these are trifles; Hippopotamus is a big, joyous beast of an album.

Ultraviolet could have had a little more variety in its seven tracks, but it remains an impressive outing by this multi-talented new artist.

Undaunted by the pressures they continue to face, Virginia Wing present a disarming form of resistance to life’s troubles.

It's a superb comeback, and one of the best albums of the year.