Billie Joe and Norah’s frolic into the Everlys’ back-catalogue makes a rewarding listen and serves its purpose mighty well: to retell an old American classic that deserves re-telling.

Although this album is unlikely to change any existing opinion about a band whose left of centre sensibilities have always meant successfully evading wider acceptance, there is enough richness in the material here to merit far more than classing Fellow Travelers as a mere novelty.

Amateurish, but defiantly unperturbed, this is a grave and momentous listen.

If there are faults with the record (aside from the mis-step of the fairground organ-esque 'Waltz), it's that while it works well as an album, it almost works too well with tracks all-too-often passing without leaving a lasting impression, with some of the shorter songs not always being given the space and time to develop as you'd perhaps expect them to.

What is particularly impressive about the EP is its diversity, without diversion.

Torres is a promising, impassioned debut.

Doing it with a little help from his friends, he's easily landed on his best album yet, out of any guise taken on in the last 10 years.

Undoubtedly there’s riches to be found here but the treasure map is harder to follow than ever.

Predictably, then, it's all too easy to 'find' (read: go searching for subconsciously or otherwise) shifts in the Welsh singer-songwriter's sound on this follow-up.

With all the various guest vocals, Pick A Piper's multi-narrative structure is a little problematic.

Surfing Strange has the band gliding over waves at record height, with barely a single hiccup.

Perhaps the biggest criticism about Brain Holiday is that it does become a bit of a yawn towards the end.

It's more than good, but it could have been great.

It's a 'take it or leave it' kind of record, but invest in Cut Copy's deranged aims and it'll feel like being part of a free-spirited cult.

M.I.A is a maverick writing this album only for herself and her cause, but still, Matangi is a welcome return to form.

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

While it might lack some of the emotional resonance that the absolute best of their peers can achieve SYB should be commended for getting the pain parts of the deceptively tricky pop-rock jigsaw together with some aplomb.

At times it gets a little too gentle, the warm soup of instruments and Pulidio’s soothing voice blending together into a indistinguishable slush, but when it holds together it’s a pleasant trip.

It’s a crossover record rich with cultural touchstones.

Bikini Daze proves that MØ has pretty much mapped out every aspect of her identity; it's up to her which path she chooses to take.

Intersections can, at times, feel a little blinkered and mopey.

The first half of the album is a joy. The second half is even better.

Sometimes the record feels a little samey--‘Better Things’ is ironically the worst thing on there, not bringing much to the four-legged furniture--but there’s enough variety to keep the record afloat.

It's one gripped with thoughts of death and yet somehow it's is the very sound of being alive. Los Campesinos! are a band who've clearly grown up, but here, that's only a good thing.

It’s all very here and now.

By trying to make them sound something they're not, the end effect falls far short.

It stands before you with the reverence of a cathedral and leaves you with a lasting sense of piety and clarity.

With fourth album Reflektor, their past is documented in vivid detail, delivered with such urgency and bombast it's difficult to look ahead. But look ahead they do, arriving with their fullest and most ambitious record to date.