While the relentless realisation of their film-ready stylings may not be to everyone's tastes, the fact they're here at all in the first place is a cause worth celebrating in itself.

Tales From Terra Firma offers a richer, fuller sound than the debut album and some tracks are tinged with an ever-so-gentle coating of sobriety and growing maturity but the important components of melody and subtlety are relatively unchanged.

In close proximity of each other, ‘Call It What You Want’, ‘Perfect’ and ‘Onwards And Upwards’ are a little too timid, each simply brushing against each other with no discernible difference. These are only minor concerns when everything else is as captivating as they are.

What Duologue should be most proud of in Song & Dance is the variety and the consistently high quality.

Palma Violets' deliciously raggedy rock is enveloping.

This is an album of climaxes and cathartic streams of consciousness, but an album listenable from start to finish.

The Leeds five-piece combine psychedelia, krautrock and gonzo rock 'n roll to unashamedly epic effect on this surprisingly immediate debut album.

Without doubt, this is Kate's heartbreak album; candid in its inspiration, both musically and emotionally

Theatrical, over-blown, and just a little contrived, any promise of real substance sadly seems to fade after the first four tracks, and never quite returns.

It serves us like a well-bound photo album which we can flick through and see snapshots of the band at certain moments in their short, yet successful, life so far.

Young Dreams have created a collection that compacts all the sunny sounds of youthful hopes and expectations into one blissful whole.

Competent. Completely forgettable.

It's full of wonderfully written lines, often intimate, sincere and grotesque, and sometimes weirdly anglophile.

In Woman, they’ve bypassed the hurdle of dangerous, immaterial preconceptions by creating the ultimate debut album: a future classic brimming with effortless, tangible love songs.

Chelsea Light Moving should feel like a tired hashing-over of sonic tropes, considering what a prolific career the front man's had. But it doesn't; it's a lively, noisy semi-resurrection.

New Moon is a rare and very special album.

Parker's vocals have taken a noticeably more prominent role, often duetting with herself rather than her husband.... Songs like 'Four Score' and 'Holy Ghost'--where Parker takes the lead--are buoyed by unashamedly gospel-inflected chorales. And it works, wonderfully.

The result is an accomplished debut that's a welcome--though not essential--addition to a growing number of lo-fi pop bands.

The beautiful part about Bad Blood is that it is both entirely predictable yet completely disarming.

Each song feels like a separate vignette, but putting your finger on the exact theme isn't easy; more often it's left entirely to the interpretation of the listener.

There’s palpable relief when ‘Sugar’ gets proceedings underway and the thinking is all; 'Yes, Shout Out Louds, yes, this is how you start a record'--no dilly, precious little dally, instead wham-bam-slam straight into this behemoth of a pop tune.

Although the ten tracks are by no means light of memorable moments, it's the thrilling range of diverse songs that flow effortlessly that makes Antipodes a debut album to take note of.

In a record where there are a minor derivations on a tried and tested formula, 'Still Life' is a major curveball; a high-risk almost jazz-like number that's almost ruined by the strange whizzing noise that could easily be a kazoo teasing its wares throughout.

The trick is that, while you know that she's stretching, she never sounds anything less than completely comfortable and in total control.

It's rich, vivid, and occasionally odd enough to give you a start.

While songs like 'Significant Bullet' and 'Leominster' feel like slightly unnecessary inclusions and can cause the listening experience to drag slightly, this is a very impressive record with some truly excellent songs.

This is a record which will no doubt appeal to long-term fans of the band as it revels in the same sonic territory as their previous output, and it works as a party-starting soundtrack with its simple lyrics and vitality, but there's a distinct lack of any real depth or enterprise.

Anyone hoping for 'The Eraser' to fledge further results will be similarly dumbfounded. But taken at token value, Amok is a very fine work indeed.