Musically it's very much as you were, country-tinged alt-rock, a little punkier in places, a little less scared of making a racket.

For a group whose best moments are when they teeter on just about every edge imaginable, it's just... boring.

Soaring arrangements and long tracks create a journey, as engaging as it is dramatic.

It feels darker, somehow, deliciously shadowey.

Sure, these glossy throwbacks to eighties synth-pop, soul and funk may not be as innovative as anything on Temple’s previous albums, but he does them incredibly well, and it'd be a fool who doesn't give them a go.

While debut ‘Beams’ was a bubbling, unpredictable electronic masterpiece, second album ‘Apocalypso’ was a dancefloor smashing, out-Fischerspoonering affair, Pacifica stands as a wildly temperamental compromise between those two drunk on a peculiar addiction to mainstream action.

It’s an album about what happens next rather than looking back. They might be a band in thrall to the 1960s but this is a record that tells us to live in the now.

Whatever the contributing factors to Bubblegum and 'Bulldozer', it's clear this is Devine brimming with confidence and energy--and to remarkable effect.

It's not as acoustic and stripped back as some will expect but it does not disappoint (unless you were waiting on eleven 'Ballgames').

This latest effort is not without its merits but is fundamentally too long, whilst its interludes are a cheap, unnecessary annoyance.

At times it’s a strange record. The rough tones don’t register as forcefully as the hooks on previous works. That said, it’s a rewarding listen, one that eventually embeds itself once given full attention.

Last Night On Earth is filled with guitar licks that manage to sound ferocious and friendly at the same time, marrying a slightly avant-garde persuasion and tight focused songwriting with something instantly warming.

For those who like their light-hearted empty-headed fun to contain a certain amount of concealed depth, Dynamics certainly does the trick.

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

This is a thirty-five minute blast of garage rock of the highest calibre. Consider all boxes ticked: carefree, angry, passionate, loud, relentless, and fun.

This is the sound of a band who have re-discovered the party (the good bits, the bad bits, the seedy bits) and the result is that Too Weird... is an album that pops and fizzes with excitement, vim and intent.

For every moment of devastating weariness, there are several moments of chilling beauty and it is this which keeps the band from being overly oppressive in its sound.

Electronic in the loosest, most deformed sense, Psychic rips up convention from the seams to the centre.

One Breath is a beautiful, atmospheric triumph.

Krauss is on delicious vocal form throughout, sounding both as fierce and feminine as ever, matching cutting lyrics with sounds so girlish they almost risk being cutesy.

Not everything works on an album that is perhaps slightly too long, however, there is a pleasing sense of ambition to Dan, The Automator’s symphonic productions, tinged with an old school flavour.

Flynn and band are happy to be a little old-fashioned, but it can be fun to join them.

The Silver Gymnasium lacks some of whatever it was that made previous albums like 'Black Sheep Boy' and 'The Stage Names' so special.

Although still predominantly an instrumental album, there is substance enough on Breaks & Bone both musically and lyrically to reward those with the patience to persevere through the dense nature of the guitarist’s work and carefully unfurl its emotional layers to reveal a world of unhurried peacefulness.

They may have deserved the montages to move along their story, but this time round there's no denying it. Wake up, world--eight years in, Sky Larkin are demanding your attention. Deny them at your own risk.

Days Are Gone confirms what everybody already knew in fabulous style; that Haim are the band to shout about.

Move in Spectrums is a deeply controlled sea of melancholic ambience, loaded front-heavy with infinitely more engaging moments than its murkier second half.

There are not enough personal elements on this album and too many invented ones. It's frustrating, too, because the honest snippets that occasionally poke through really shine.