Without any real substance to the lyrics, these soft, earnest, mild guitar songs come across like their author has grossly overestimated their depth. The album as a whole sounds like fourteen-year-old boyfriend music.

The songs here mostly lack the sonic power and impact of those on its predecessor, but they do accomplish the not inconsiderable task of making Sean’s angular guitars sit alongside Pascal Stevenson’s synths congruously on tracks like ‘Ego’ and ‘Keep Out’. Post-punk bands of various eras have transitioned to new wave over the course of three or four albums, but Moaning have done that with just two.

There’s a decidedly different tone to proceedings. World Peace is None of Your Business feels infinitely more concise, and musically more defined.

The lack of time taken for ii to form itself--no weeks off to go back and reconsider minor changes, no reigning in the level of experimentation--gives the album the feel of a jam, but without falling into an undefinable mess.

They cast a loving spell over the listener with their optimistic, almost carefree attitude, providing a cosmic, upbeat antidote to chaotic times.

Much of his recent work remains underrated, but by ‘Monuments…’, he was beginning to sound a little short on ideas; happily, the simplicity of Ogilala seems as if it’s rejuvenated him.

Whilst this beast will satisfy the ravenous converted, skeptics are set to remain agnostic.

An enigma made by a puzzle, ESTOILE NAIANT is as compelling and as unusual as the musician who refuses to tell you his name or show you his face.

Ultimately there are no tracks that really stand out any more than the crowd, which is what bars this record from higher marks; but then, there are no bad tracks either, and the whole package is very listenable.

'Dear' has a refreshing simplicity and endearing vulnerability that will gatecrash your soul and render your skip button impervious.

Caramel is certainly a strange album, but it’s not alienating or difficult to engage with.

This is an album with ambition; a sonically sweeping piece of work with big themes and big ideas that can overwhelm you. Just let nature take its course.

Just like humanity’s primordial obsession with fire, Sky Swimming is difficult to disengage with.

This is music in its purest, most experimental form. This is a record which doesn’t make sense, because it doesn’t have to.

Old, but new at the same time, the seemingly limited palette of Buoys is single minded and direct. A stunning, if hushed, indirect hit.

It’s only when he tries to amp it up that ‘Chew The Scenery’ falters; ‘Stuck’ might possess a standard freshers indie chorus, but when it aims for Oasis-level swagger, it meets closer to the Gallaghers’ recent solo endeavours than bucket-hatted air-punches. Similarly the euphoria of ‘Yeah!’ misses the mark. Still, there are more than a handful of stellar moments.

‘I Confess, I Guess’ too is a little too mid-paced to leave anything to hold on to. But where the songs work with and without context, it’s a joy.

This album may declare itself a painting--and an intense one, at that--but there’s a much bigger picture to see here.

This posthumous self-titled release feels more commemorative than conclusive. It’s a welcome celebration; an answerphone message revisited. It’s no ‘OIL…’, but it’s pure SOPHIE.

Strange Pleasures is an album of cinematic charm and where, with the weight lifted off his shoulders, Hughes has created a journey along a dark motorway that adds light and colour to stand out from the traffic.

A gorgeous, luscious Eels record, sounding every bit as familiar as any of that suggests, the country-tinged guitars, the organs, piano, sprinkling of xylophone and those comfortingly gravelly vocals in which the world's in love.

Like the heady themes on Sun Structures, Temples appear to be a group still ascending to a brighter sphere.

'Time Team' is a hugely rewarding album that delivers rich emotional laden electronic music with a human heart and an impressive debut.

‘IC-02 Bogotá’ is a worthy sequel, with all the potential to bring a blissful, mind-bending exotic escapade for one’s mind, body and soul.

Filled with polyrhythms and squalling synths designed to get people on the dancefloor, it’s sometimes impossible to remain rooted in your seat. The drawback of this focus on the high-energy though, is that it can get a little wearing.

With just about enough sonic variation to keep things interesting, there’s a more pristine, altogether more polished feel to this collection of tracks no doubt the result of an artist who’s getting closer to refining their craft.

Despite opener 'Shape' being a colossal Bjork channelling beauty that comes close to breaking point, the bulk of Interiors is restless but unassuming.

With every listen there’s something else to hear, something new to discover, and something different to feel.