Evans The Death's debut album is full of promise in bitesize two-minute chunks, and we can expect to see more from them in the future.

There's no avoiding the fact 'Blunderbuss' is an album for those already long inducted into the church of Jack White.

It all sounds Trullie effortless and it wouldn't be surprising if she reached the same heights as her contemporaries with just as much ease.

Maps & Atlases have carved for themselves a neat little niche in the indie rock world. And we should be grateful for that, rather than having another generic album, and be interested to see where the band goes next.

there is an extremely satisfying sense of fun throughout Island Fire (despite the dark content) and Ray is very much in on the joke.

Levine has done a wonderful job of creating a work whose humble beauty easily can captivate you if you let it.

Ultimately, as beautiful as it is in its more subdued moments, the album feels fully realised when her alternative and mainstream instincts find each other.

A curious album that is well worth investigating.

Although the remixes do not do the original songs on 'Gloss Drop' justice, 'Dross Glop' does give other artists their chance to interpret Battles' songs in their own way, from a rap twist with Shabazz Palaces to others going into even more experimental territory than the band themselves.

By and large though they still end up falling on the sword of 'Fever''s brilliance.

Often on 'Awe Naturale', the songs are suddenly cut off before they get into their stride and leave you wanting more of their soulful jams with a rap twist. Regardless, this is a largely enjoyable debut from this versatile duo.

Coxon's most accomplished solo album to date.

There is a lot to take in here but certainly a lot of fun to be had in the process as well.

Choreography is tailor made alternative pop of the highest degree, with enough ear friendly, sing-a-long melodies to entice even the 'older' generation.

Folila's best moments do inadvertently serve as a reminder of how good Amadou & Mariam are without the hired help.

It's further proof that Orbital aren't content to stand still and rest on the laurels that have made them ones to watch at festivals. 'Wonky' as an album is sexy, smart, and filled with all the potential to smash the competition.

'Dear' has a refreshing simplicity and endearing vulnerability that will gatecrash your soul and render your skip button impervious.

You'll either love it or hate it but, ignore the buzz, take it on it's own merits, and you might very well be rewarded.

There's no doubt 'Nocturniquet' is amongst the band's best work, and sufficiently different – witness for instance the loud bass-heavy synths that pervade the heavier tracks – from their career highlights that it should satisfy all comers. It's f***ing brilliant, and that's really all there is to it.

It's oddly accomplished, and Winston's classical background shines through.

This record is a playful, daring and capricious listen, and one of the first truly remarkable records of 2012.

The liberal use of string sections throughout do teeter on the brink of out-and-out cheese but Cowley's trio have enough class and, dare I say, verve to pull through.

This is an astonishingly good album, and the fact that it's a debut makes its stylistic and thematic consistency, as well as suave swagger, all the more to be recommended.

Its title track, 'The Capitol' and 'Fenix' are all pleasant enough but lack any real dynamic and verge on the point of becoming fillers. Those are only minor niggles for an accomplished album though.

While the album is laced with enough venom to keep existing fans happy, we defy anyone not to stamp their feet and fist pump come track nine 'I Don't Wanna'.

A reminder of the echoing, scatter-brain drumming trips of the good old days.

Most definitely one of the best albums of the year so far.

The inevitable result is a crisper, more polished sound.