Henson’s stripped-back sound is almost shocking in its purity.
Brighton band eschews cliché, sounding sleek, fluid and effortlessly modern on album two.
Owens’ bid for a place in the pantheon of gifted greats is on course.
Manchester-inspired Russians impress with these 10 tracks.
Ex-Fleet Foxes sticksman gets superbly freaky on a special solo voyage.
Hers is a shivery presence, like moonlight on flesh.
Relaxed of groove but certainly sophisticated, this is Fagen on form.
The Canadian-American singer has realised her best record to date.
Superbly psychedelic second set with a very British-sounding soul.
Dhani Harrison and company's second album plays things too safely.
Songs of subterranean AOR, with guitars tripping the light fantastic.
A perfect little world of mid-tempo, piano-based, chorus-heavy impressions.
The stunning return of a prodigal son you never knew existed.
A second helping of Cyrk, accentuating the dreamier haunts of part one.
The Mint Chicks’ Kody Nielson flies solo with great psych-pop results.
A more grown-up sound permeates this fourth LP from the Dundee quartet.
There is only one Lawrence, this is his gospel, and roll on the next chapter.
A singer with potent pop sensibilities, packaged exquisitely and uniquely.
Hearts might well burst under prolonged exposure to this record.
A well-researched soundtrack piece full of memorable melodies.
A fifth album from the pop-embracing trio that’s geared for maximum chart impact.
Presented with loads of extras, but the original 11 tracks are all anyone truly needs.
It’s nu-folk on Williams’ second long-player, but not as you know it.
This Alabama outfit might be the feel-good hit of the summer festival circuit.
Moz has taken his editor’s hand to this solo debut – but does it lead to better results?
A record with so much clever and excitable beauty, yet strangely disappointing.
An instant hit with tasty ingredients from the Philadelphia rap duo.
Music for those comforted by blood, sweat and tears.
An obvious, albeit appealing, stopgap release.
A smouldering album wrapped in velvet strings and suave horns.
Music from a bleakly beautiful twilight zone entirely of its own design.
A sixth LP proper that’s perhaps better titled Bands Are Indifferent to Change.
A terrific and charming Domino debut from Frenchman Fránçois Marry.
Welcome to Difficult Second Album syndrome, delivered in typical Big Pink style.
Deserves to live on, and on, many years after its creation.
The sisters’ voices, with Hegarty and Wyatt’s songs: a perfect match.
Traditional numbers given a Rusby spin, best enjoyed with pint in hand.
The band ignites on several occasions across this double-disc live set.
One of the American Gothic greats reveals his second LP of 2011.
Bradford Cox’s most coherent record to date – how badly we need more of his ilk.
When the Irish band went to Berlin, roped in Brian Eno, and pressed the restart button.
A triumphant fifth LP which reveals familiar strengths in all the right places.
Mostly more of the same from a New York band in need of their Pet Sounds moment.
The country legend’s final album, and a fine way to bow out of the business.
The most uniquely sublime, meticulous and heroic 40 minutes of 2011.
The sound of lying on your back, sun-basking, mentally drifting downstream.
The ex-Beta Band man becomes the ghost in Bovell’s time-travelling dub machine.
Lavish set covering the man’s career to date, packed with startling rarities.
A constant threat of change makes this lovely long-player so very enticing.
There won’t be a more sexily evil record released this year.
