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This feels like the first year during which I’ve found myself buying less new music and, instead, rediscovering albums from my past. Part of it, maybe, is being somewhat financially challenged and I’m investing more and more in reading. Part of it, maybe, is to do with changing – or evolving? – tastes: more and more I’m enjoying post-classical music (Ólafur Arnalds, Jóhann Jóhannsson, Dustin O’Halloran, among others) and that kind of music does warrant deep immersion. And, rather regrettably, this may be due to rapidly advancing years – I’m after beauty and contemplation these days. Still, I have bought some new records this year. The following are the highlights.

Everything Now by Arcade Fire – quite honestly, Arcade Fire are an interesting proposition: they are arguably the English-speaking world’s biggest alternative rock band (for want of a better term), but their work can be patchy; further, there can be a rather condescending tone in their songs, as though only they know exactly what’s wrong with the world and, apparently, it all comes down to consumerism and the internet. Some fans have dismissed ‘Everything Now’ due to the record straying too far from Arcade Fire’s core sound, but it’s silly to chastise a band for experimenting. The titular song is basically ‘Reflektor’ mashed with ABBA’s ‘Dancing Queen’, which, frankly, is no bad thing. However, the only other truly memorable track is ‘Put Your Money on Me’, which offers a delicious chord progression and lush shifts of gear. In between those two songs are a number of tunes that are throwaway , with only ‘Electric Blue’ offering any kind of reprieve. But I’m being harsh: overall the set is eminently listenable and it does expand the band’s impressive oeuvre. If only Everything Now didn’t come across as rather slight.

American Dream by LCD Soundsystem – this, for me, is the record of the year. In a word, it’s stunning. But it’s also dark, angry even (despite the latter half of the album sounding a little like a braver, less self-obsessed version of The Killers, which, no doubt, is a reference James Murphy would detest). It’s true that LCD Soundsystem having been mining their form of minimal riffing for years, and some of the songs don’t quite have the emotional pay-off they deserve, but for mine American Dream well and truly rises above all else I’ve heard this year. As opposed to Everything Now, there is not a single throw-away track here, and once again LCD Soundsystem appear to be inspired by Remain in Light by Talking Heads, one of the truly adventurous and astonishing records from the mid-1980s. But unmistakably American Dream comes out of Trump’s fucked-up version of America, hence the darkness and anger. If there’s one song that makes for an intriguing – though menacing – introduction to the album it would be ‘How Do You Sleep?

Three Worlds: Music for Woolf Works by Max Richter – this is a collaboration between prominent new-classical composer Max Richter and the Royal Ballet, and it explores the works of Virginia Woolf. There are three sections, each corresponding to three of Woolf’s novels: Mrs Dalloway, Orlando, and The Waves. Overall Three Worlds is melodious, minimal, and accessible, even if the Orlando section does contain pieces that are more meanderingly atmospheric than musical. For sheer visceral power, the final piece, ‘The Waves’, almost rivals Arvo Pärt’s ‘Cantus in Memory of Benjamin Britten’. For a work that is essentially the soundtrack to a ballet, Three Worlds is a rich and rewarding listening experience. A good place to start might be ‘In the Garden’. Beyond Pärt, other influences are Michael Nyman and even The Knife.

Slowdive by Slowdive – it’s a tough ask for a once-revered band to disappear for twenty years and then return with a record that retains the core elements of their distinctive sound while being vital and relevant. Remarkably, that’s exactly what Slowdive have done with their self-titled album. Let’s be honest: being a band that was labelled ‘shoegaze’, that infamously introverted if not vacuous movement (if that’s the right term for it), Slowdive was always about mood; they never really had anything much to say, except, perhaps, that beauty can be found in walls of noise. Little has changed, although in this collection there is evidence of stronger song-writing – ‘Sugar for the Pill’ is a gorgeous pop song – and there’s an appealing diversity of sound and structure throughout; with its repeated but building piano motif, ‘Facing Ashes’ is almost epic. Slowdive have an avid (if not ageing) fan-base, and if you would like to know why, this latest record is a terrific place to start.

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