Guitars jangle, piano keys ripple like they've been recorded from a jaunty saloon session while vocals harmonise and lift the spirit of everything around.

The bonus material on discs five and six of the box set (which also includes Achtung Baby's severely underrated 1993 follow-up Zooropa and two pointless discs of remixes that likely won't be of much use even to die-hards) only serve to illuminate how much had to go right for the album to be as good as it was.

[It offers] up some of the most melodramatic songs Los Campesinos! have recorded to date.

Narrative beauty and endless energy is abound, but you're going to have to play make believe to find out.

We're treated with music that demonstrates a perfect niche between pop-accessibility and zany experimentation.

With a heavier reliance on piano and this newer emphasis on these samples, it's an astounding achievement in a young career already marked by solid works.

Take Care is a record unsure of itself, certainly more focused and interesting than its predecessor, but still far from the classic Drake had hinted at.

It's a spatial and musical theme across the whole of Impossible Spaces and it's perhaps the record's most deserving triumph.

What this results in is an album that is just as frequently successful as it is frustrating.

As his catalogue continues to accumulate faster than just about every other artist out there, you can feel him growing more confident in himself and the ideas he bases his music on. Parallax can't help but feel like a win for this cause because it symbolizes growth more than out-and-out excellence.

Somehow, allowing it its true moment on the shelves has solidified the record's historical importance.

For a man on his 8th solo release now, Kurt Vile is going from strength to strength and makes classic rock palatable and catchy like the greats have before him.

Nothing about the eight tracks on Humor Risk seems spare or accidental, as the record is expertly plotted and paced, never falling in to the samey or undifferentiable trap that his previous effort drowned in.

Overall, Ceremonials leaves everyone's opinions of Florence + the Machine in stasis; if you loved or hated her before, you'll still feel the same way, if you were unsure, you'll still be unsure.

It requires an open mind to absorb so much in one single LP, but whether you're looking for sing-along choruses, meandering instrumentals or just a damn-good listen, all three boxes will surely be inked by big fat ticks by the time the disc stops spinning.

If anything, A Very She & Him Christmas can feel like a wet blanket at times, like a party that just can't get off the ground.

We have this perfectly pleasant and assuming piece of synth pop, neighing through a vocoder with the dying breath of the shamelessly beaten horse of retro-futurism.

The whole thing comes off as either an expensive major label joke or nigh-impenetrable high art concept. Maybe both.

Trust Now doesn't have the earnestness or perhaps shear quality of songwriting as Shadow Temple, and it feels a bit homogenized where its predecessor felt cohesive.

Tarot Classics isn't remarkable, but it reminds you just how good Surfer Blood are when it comes to songwriting, just how much fun it is to listen to this band, even if they're getting a tad gloomier.

So, for now we're left with another Noel Gallagher album that continues in the same trend of most of Oasis' output, trying to be something greater than it is. But hey, at least it's better than Beady Eye.

It may not be as game-changing or complete as †, but Audio, Video, Disco has the exact same energy, intrigue, ear for melody and air of defiance as the group's glittering debut.

Bad As Me is yet another sensational landmark on the long, well-traveled path of a man who simply refuses to age.

Mount Wittenberg Orca is uniquely and charmingly straightforward.

Ultimately, Mylo Xyloto feels like a mixed bag of ideas that never really comes together.

They need to find their identity, and they're going to have to move forward and progress even further as a group if they want to move beyond being a flavor of the month.

It promises even better material to come if he can blend the astounding songcraft from earlier efforts with the atmosphere of this album.

This is a great pop-rock album because it doesn't feel the need to be anything else.