It’s a virulent mixture of political discourse, political polemic, self-aggrandizement, self-diminution, childish humor, and intelligent irony; but, above all, everything is pulled off with undeniable character.

The album's middle section yields the record's most comprehensive songwriting.

Calla's sound continues to evolve as they explore divergent musical avenues within the context of potent, atmospheric alt-rock.

While not every song on Glass Floor is a gem, the best ones here are so good, I can only assume Maritime will be a step forward even for these artists’ illustrious careers.

It's not entirely necessary, sure, and it's not going to be essential listening for new fans, but it's a classy retrospective on Merritt's songwriting prowess.

Clocking in at just a shade over an hour, Zonoscope is – as its cover art of Manhattan being engulfed by a waterfall suggests – a very surreal leviathan, an object that surely mesmerizes as we all wait for the oncoming Armageddon.

Although Smother isn't as suffocating as perhaps it should be, it's still an interesting venture for Wild Beasts to have taken and definitely, a worthy follow-up to Two Dancers. And so while there isn't anything as wildly inventive as maybe "Hooting & Howling" anywhere to be found, there is a great deal of lingering new sounds to get lost in.

These sparse, unfastened and more importantly, exuberant covers are all flash and no substance. But that doesn’t mean they aren’t specially well done and loads of fun, either.

While the tunes on Adventures may be a bit more nebulous and a bit less intricate than those found on From Here on In and With the Tides, they are by no means any less engaging, and in some cases are even more resplendent.

The consistent, unwavering quality songs make up for most of Jaill's derivativeness. It's pretty hard to write meaningful music out of such rooted conventions of guitar, drums, and bass, but That's How We Burn is engaging throughout, which is quite an achievement for a meat and potatoes rock band.

Ultimately, although Into Forever might not quite hit the same consistent heights as the meticulously-crafted Modular Living, it’s still a respectable and forward moving addition to the Eat Light Become Lights canon in own right.

It certainly lacks the ambition and scope of Transatlanticism, but given the group's recent personal and professional triumphs, it's encouraging to hear them produce a piece of work reflective of their situation.

Although This Too Will Pass is a very solid effort from a maturing artist, it seems to be missing some of the energy of previous releases.

The understated songs are the most memorable here (and the least Why?-like), and it sort of makes me wish the rockier material were shelved so that the whole album could be tailored to this mood of graceful resignation.

The Beatific Visions is not flawless, but even with a few glaring misses, this album is above average and often brilliant.

With the absence of anything quite as moreish as say “Tweet Tweet Tweet” or “No One’s Bothered” it may go for less instant satisfaction but it’s undoubtedly still worth tucking into as part of the steady Sleaford Mods diet.

Life Like may not beg for repeated listens as much as Birds Make Good Neighbors but it’s still an honest and original piece of work that is sorely needed in these times.

For all that is revealed about Charlotte’s experiences via the songs on this album, there is always the knowledge that Beck is the songwriter, which raises the questions of how close Charlotte is to the lyrics, and if Beck has transcribed what Charlotte described to him with minimal interference, or if his own views and ideas have shaped the finished work and altered Charlotte’s original intent.

It's not entirely clear yet whether Loud Planes Fly Low will be the Rosebuds' swan song or simply a restatement of purpose, but either way, the band has delivered one of the most arresting breakup albums since Beck's Sea Change.

The overall effect is some formidable, quirky inde-rock.

Write About Love may not be remembered as a seminal Belle & Sebastian long-player but its uncomplicated charms still make it an effective ephemeral pleasure.

Welcome to the Drama Club shows that he’s still got plenty of catchy hooks left.

Whilst the nostalgia-soaked Sky Blue Sky will cause consternation amongst those who backed Wilco’s brave efforts to bend the staidness of plaid-shirted alt. rock, it’s still arguably one of the most charmingly-effortless records Jeff Tweedy has ever spearheaded.

Everything is New is a gifted and resounding response to the many nay-sayers out there. It’s not the best Peñate could have done but who else could have expected this kind of departure?

Whilst Moore’s meandering stops Sonic Nurse from going that much needed extra mile, Kim Gordon and Lee Ranaldo are on reassuringly good form.

Taken as a whole, this strangely captivating cowboy-themed album is certainly not all hat and no cattle. Whilst ultimately it will probably not reach much beyond the shared bubble of Dean Wareham and Cheval Sombre’s respective fanbases, it’s certainly a curious and welcoming bubble to get stuck in.

The infusion of pop and blues has not only been done before, it’s also been done better.

Whilst as a whole Dear Mark J. Mulcahy, I Love You does perhaps miss having a few more mellow Mulcahy moments to give it a stronger balance of moods, its rapidly flowing melodicism is impressively infectious nevertheless.