Now we're meeting a new side of the veteran guitar god – a gentle, delicate and altogether more acoustic Mascis.

With Gomez still a going concern, this solo effort--five years in the making--is very much a side project finally realised. But Ottewell should consider a follow-up, as there's much more to recommend here than on recent releases by other indie band singers turned so-so solo artists.

It's exciting, not self-indulgent; real, not affected. Far from being removed or pretentious, these are songs that pierce the centre of the hearts that they've sprung from.

This one bristles with a sense of hope and possibility.

While Endgame is a strong album, and certainly an honourable one, it does lack an ingredient that might be identified as magic.

Remarkably, across its length the virtuosity and excitement levels never dip. After repeated hearings, the music sounds as fresh as ever.

The overriding impression of Boys and Diamonds, however, is of MIA's global smash-and-grab style of musicianship minus the bonding agent of an overarching personality.

Shoegaze drone-noise from Texas, done well but done several times before.

Civilian pushes Wye Oak to the head of the nu-shoegaze pack with a record as blissed out as it is maudlin, as rootsy and tough as it is fey and introspective.

Palermo Snow is a confident collection that delights in bringing together a still-formidable technique to exercise and enjoy itself in the company of a good tune.

They continue to make music that sounds like it cares how you are.

A personal, private fourth LP from the Philadelphia native and select pals.

A worth-the-wait second LP a decade after the New Yorkers' celebrated debut.

Lupe remains a singular hip hop voice, and Lasers is still worth a listen.

In lesser hands, such 'fusion' elements could have fallen flat, but Aurelio's obvious talent, and Duran's sterling musical arrangements, instead yield an impressive album that simply sounds better which each new listening.

The true tests of an album of compositions such as this are, firstly, that it produces original, stimulating music and, secondly, that it makes one return to the original versions to listen to them anew. On both counts, Bird Songs succeeds admirably.

Whether Goodbye Lullaby was all a tad over thought, or whether she's just holding back, the finished product falls significantly short of Avril Lavigne's own capabilities.

Though not without merit, the overriding sensation is one of empty melodrama.

Collapse into Now genuinely feels like their first post-Bill Berry album to resemble a four-legged dog. And that, folks, is an event.

The Magic Place, splendidly, isolates the listener, cuts them off from the world around them.

A treasure of tremendous emotional resonance and focus from the rising country singer.

As ever, whatever the material, Wilson's smooth but husky-toned vocals are highly distinctive, especially when combined with a delivery that savours every word while remaining loose and languid.

Oregon rock alchemists create soundworlds that one can be effortlessly immersed in.

While the album's polished and pristine, it also feels dated and somewhat lacklustre, any true inspiration placed on hold. This is Elton Ron.

The songs here are less oikish, more nimble and nuanced, than a lot of Oasis' ponderous later music.

An outstanding album which improves upon the Swedish singer's great debut.

Casual Ladysmith fans are unlikely to be won over by these distinctions, although long-term listeners will be pleased to see the group finding fresh water at the bottom of the well.

The duo has followed through admirably with Invariable Heartache, a record that seeps with clear-eyed hope, regret and wisdom.