Tribes are simply proving that they have an ear for writing brit-poppy rock, and in summary, Baby is a complete belter.

The only sore-thumb is lead single ‘How Can You Really’, which feels far too polished for the lo-fi and experimental feel of the album. Apart from that, though, this is a record of magnificent magnitude and one that’s audacious as hell.

WHY? have always been an acquired taste but anyone with a shred of interest in Yoni Wolf's idiosyncratic talents will find much to savour on a very impressive return.

The issue with 48:13 is that it’s actually a fairly routine-sounding Kasabian record.

Though the London band don’t exactly attack in a fist-raised blaze of mega-riffs, they hit hard all the same with quick, sharp, and consistently executed blows of effortless songwriting.

There are a lot of words in this, their fifth album, and yes, they have always been a literate band, but here it often seems somewhat forced.

Tthey continually hit the sweet spot between the dance floor and sweaty indie venue. Songs overflow with ideas and, as the title suggests, they manage to plot a path through them all, finding something poetic amid all the excess.

While there certainly are some massive tunes in here, there are too many other instances that make you wonder what might have been.

Eclipse falls flat too often--eclipsing, some might say, the stadium-worthy songs we know he can achieve.

It doesn’t so much as show them in a new light, more picks up where ‘Trompe le Monde’ left off all those years ago. But, as the saying goes, if it ain't broke, don’t fix it.

Smith's vocals are spot-on throughout, save for the odd Mariah-esque trickle towards X Factor auditionee theatrics, and find themselves paired with as pitch-perfect a production as has been heard all year.

A more succinct approach to these re-assembled works would have done wonders, though as it stands leaves these ten tracks merely as a curiosity for long-standing Mogwai fans only.

Something that gradually becomes clear is that this is an album of uncertainty.

Freedom of Speech is clearly political, standing up to hardships of the modern world, tackling issues in a very mature way with intelligent and insightful lyrics.

Her most consistent album to date, and let-loose like never before, blimey it’s good to have her back.

[Barnes has created] the best experimental discordant noise pop he's worked on since 'Hissing Fauna'.

It’s another collection of decent, cheerful indie-pop.

Full of campy affectation presented with a shiny flourish, 'Do Things' is not fundamentally a bad album, but the constant happy-go-lucky nonsense, along with the un-imaginative songwriting, just seems a little contrived.

Ultimately Someday World is undeniably disappointing. For something that promised so much and to deliver so woefully little is an injustice to each respective side of the partnership.

It’s refreshing to see that the band aren’t content to solely focus on nostalgia trips, and there are some great moments here - the dark driving force of ‘Wyttch’ stands out - but with such a hefty run time, it’s difficult to really tap into the heart of ‘Cyr’.

Whilst a fun record, there’s only one issue remains, the fact that it’s often hard to connect with something so unabashedly honest.

Encyclopedia is the sound of The Drums trying to find their feet once again, an endeavour not yet fully accomplished.

Orangefarben has very little distinctly objectionable or sinister about it. There is still the impression that something is lying dormant under the initial cheerfulness, but for those craving true, raw darkess, Baenziger's demons might not rear their heads quite enough.

Thrifty, perhaps--hey, these are austere times!--but Errors' evocation of eighties pop, tricked out with post-rock structures, is fresh and exciting.

Indiana successfully abuses the boundaries of genre to create a melancholic tome of songs that dares to be inventive from its first steps to its dying moments.

Granted, Chapter and Verse isn’t rewriting the book, but it is yet more proof that Funeral For A Friend still possess that same fire, that same determination, to keep making great records.

The album is a cohesive combination of touching sentiment and purposeful release--it’s a big progression for a group keen to open new doors.

Desire’s best moments arrive when there’s a genuine attempt to create a bit of atmosphere--the cool strut of ‘Spotlights’ is a rare bright point. Everything else, though, has been done better elsewhere, and recently, too.