Akin to Bowie's 'Hunky Dory', in its senseless but brilliant eclecticism.

Most of the time 'Lowedges' is so laid-back in Hawley's well-bedded-in, Fifties crooner way, it almost buries itself.

There is just enough balance between the tune, and the unexpected jazz chords, ear-splitting squeals, and lovely harmonic noises to make it forever listenable.

Elbow have made the most passionate, beautiful and downright special record you'll hear this year.

'Rather Ripped' is the most accomplished and mature album Sonic Youth have done in years.

A decade after he first set an impossibly hard act to follow, Jarvis Cocker has returned with an album that knocks not only his ageing contemporaries, but many of his descendents, for six.

It’s this rediscovery of how to make pop music with loud guitars and peculiar sounds which makes Kaito so fresh.

Not, perhaps, the hugest of leaps from 'The Noise Made By People', granted, but that album, fine though it was, was very much parking on specific continental territory; 'Ha Ha Sound', by contrast, feels like it wants to explore somewhere more bearingless.

Yes, there is a lot in the way of failing relationship therapy on here, but when it's done with such eloquence and downright elegance it'd be churlish to treat it with the disrespect more easily afforded to music's legions of professional disenchanteds.

This album is sublime.

This is better than anyone could have expected.

'Aerial' towers over the vast majority of even this year's embarrassment of riches.

No-one makes gizmos and machines prong like fruity tuning forks as well as this man, nor do they construct such vivid atmospherics with such cunning simplicity.

He lays bare pissed-off tantrums and his emotion through a burgeoning self-belief and raw musicality to create his endearingly bittersweet masterpiece.

This is a subtle record that rewards what you're willing to put in.

Though not really getting the joke can somewhat divorce the listener from proceedings, the slick, masterful production and real-life cameos from the likes of Ghostface and particularly Cee-Lo on the majestic 'Benzi Box' make up for the feeling of exclusion.

They've totally nailed it.

Even if you only have a passing interest in 70s heavy rock this album is nigh on essential.

Everything about Lemon Jelly is meticulous, extending beyond the detailed production and lush orchestration.

It's all good folks but let's be clear. IT'S NOT GENIUS.

Interpol prove themselves to be men on a mission to take us back to a time when long faces and even longer overcoats were de rigeur for alpha males the musical world over.

This is a record that will so quickly get under your skin and fill your head with such a bounty of melodies that the only way to relieve the swelling is to joyously whistle them out.

Thankfully, it's even better than expected.

Alas, it's not as consistently satisfying as 'Born To Run' or 'Born In The USA', and Springsteen's voice, always gravely at the best of times, has taken on an increasingly wizened air that sometimes renders it frustratingly impenetrable.

'Damaged' is a hugely welcome addition to Lambchop's now frighteningly impressive back catalogue, and an album with few limitations.

Whereas previously his songs felt carefully and beautifully crafted, here he seems content to merely plunder a whole host of archaic musical styles and immerse himself in self-congratulatory jams, and a result you end up with a less than satisfying hotchpotch of songs.

Quite unlike any other chill out album you're likely to hear, 'Melody AM' takes low rider funk and splices it with 80s synth-pop ambience and analogue dub techniques to create a truly inspiring epic pop landscape which neither strays into questionable light classical territories, nor worrying prog rock terrain.

A good record, if a little frustrating.