Disquieting divinity, duly delivered.

The result is a slightly odd, somewhat disjointed response, and one that serves to highlight just how daunting it is to tackle a cover from the former Genesis frontman’s catalogue.

Haim neither flinch nor blush in their directness and neither should you in enjoying Days Are Gone for what it is: unabashed fun.

Of the two acts, Costello’s pinch of dry spice makes this set more his vehicle to champion, but both show a mutual, practical affinity.

The vocals of singer Sarah P take At Home to an altogether more ethereal plane.

It’s not as shiny as ‘Nevermind’, nor as raucous as ‘Bleach’; it’s not as sensibly realised as it would have been has DGC had entirely their own way, but nor does it completely kick against Cobain and company’s prior achievements.

Trentemøller’s studio chops are beyond question, but the results here suggest something of a new musical identity crisis.

Nothing Was The Same offers the listener a lot of what they’ve come to love (or loathe, indeed) about its maker, with the occasional flash of something a little more daring than might’ve been anticipated.

Evelyn offers up the wiles and wisdom of a neighbourhood good guy, or more accurately, the distinction of an original Warp beat sage, providing contented listening caught lacing up a shelltoe.

Here, we hear hints of funk, jazz, Americana and folk--and before you know it, the album’s ingrained itself.

A strong, engaging return to form, Mechanical Bull is made to ride. Strap in and enjoy.

This eclecticism of emotion expressed instrumentally and lyrically is indicative of a matured songwriting style, and absorbs the listener at every turn.

When it all comes together, In Rolling Waves is a thrilling, melodramatic ride through the regions where pop, electro and alternative rock crossover, and finally meet.

Every track gives you something new and exciting, while holding tightly on to Emilíana’s flawless voice and melodies.

The Diving Board is an adult affair, but impressive enough to explore, and reinforces Elton’s continuing creative renaissance.

The Bones Of What You Believe is an exceptionally strong debut where every track is a potential single.

Of course groups should look to change and evolve, but this is solipsism at its worst.

The biting nostalgia of middle age runs throughout the lyrics and the band’s desire to produce something akin to ‘Automatic For The People’ is largely fulfilled.

[A] remarkably consistent debut.

While Delorean captured the spirit of summer with 2010’s Subiza, now they’re aiming to nail the soundtrack to the end of it.

Family life and a well-earned break have given this one-time Gothfather new tricks that pure despair could never provide.

He’s managed to transcend his previous efforts via the scaling up the sonics and simply maintaining the quality of this excellent record.

At its best, Roaring 20s is clumsy and awkward. At its worst, it’s hectoring and condescending.

Easy to absorb musically and easy to ignore lyrically, Loud Like Love is 50 minutes of simply okay alt-rock.

The Irish act’s short, sharp songs are frenetic and faithfully redolent of the staunch ’60s UK R&B boom that bore The Yardbirds and the Stones.

Glow is that rarest of beasts: a dance album that is equally as good on the dancefloor as it is at home.

Smilewound is delicate, crunchy and as beautiful as the fountainhead of music whence it came.

Big, bold, invigorating stuff.