It's very different, and whether or not it's better than The Mars Volta is a debate for others; what is clear is that Omar Rodriguez Lopez--and friends--still have a lot more to offer.

Unoriginal, yes, but while some elements can verge on sounding a bit tired in places, the notable musical lineage it follows gives The Mountain Moves the potential to be as timeless as it is conventional.

It’s immediate and hard-hitting in the same way as blues rock.

Oasis bled into mediocrity faster than you can say 'Blur were better', but just occasionally on Spacehopper in Tripwires you can see the same ambition and pop nous that made their early tracks such a thrill to the mainstream.

With Love is a flawed collection that is on a par with Zomby’s previous work but one that is minted in the producer’s unique persona.

If you pick and choose your way around the collection of jumbled songs on offer, maybe you’ll get the opportunity to revel in some speedy, sunny chimes for a little while, until that inevitable sundown, at least.

Idiots is the wonderful sound of The Electric Soft Parade belatedly coming of age.

Soft Will marks Smith Westerns moving into another realm of quality and experimentation, and, to put it quite simply, this album is just a complete pleasure to listen to.

Odell may well sell a lot of records (though long term, he may not) but as far as art to engage and inspire goes, Long Way Down has precious little to recommend it.

More than anything though this is a record which feels warmed by summer sun, reminiscent of misty sunsets to blistering mid-mornings it listens like an album made by a band from California rather than New York.

Ranging from intimidating to wonderfully eye-opening, it's always forthright, and it barely falters.

This debut feels far too uncoordinated, un-moderated and incoherent to do more than dazzle and confuse in equal proportions before leaving the listener to make sense of what just happened.

It’s reassuring to note that, now five albums in, Tunng continue to distill and refine their sound, honing their craft to create their most accomplished album yet.

bounty is a record that, whilst great to vibe out to, kind of feels a little stitched together piecemeal.

It meanders a touch in the middle, but in general Olympia is a genuinely bold attempt from Austra to expand on their debut while retaining most of what it was that made them stand out in the first place.

Like all good records, it has its magpie moments too - the Justice / Daft Punk tinged one-two of ‘Celebrate’ and ‘Surround Sound’ especially effective in the current climate--but fundamentally Ice On The Dune is the definitive Empire Of The Sun album.

The main issue with this album is that it is not terrible and it is not brilliant. It is simply there.

Louis' new-found confidence oozes from the songs here; it may just be his first steps in the quest to emulate his old rock 'n' roll heroes.

The result feels less like accidentally walking into David Attenborough's funeral and more like some incredible, unrealised score for an immersive, imagined Icelandic crime drama.

This is boy band material dressed up in an indie band’s clothes.

Not a punk record for people who like Blink-182 but a punk record for people who like punk.

Admittedly, there is probably nothing on While A Nation Sleeps that quite scales the peaks of the their finest works, there is no 'Rookie', no 'My Life in the Knife Trade' but there are plenty of pulse quickening moments for fans and non-fans alike.

Tape Two sees them moving further away from a classic De La Soul template into something deeper and darker.

The universal themes and her way to create tales that draw you in, make for an album that’s more emotionally resonant than her debut.

Howlin' works impeccably as a whole. Equally uplifting and calming, it's the dancefloor via the beach.

Ambition often manifests itself into self-indulgence, and from the off you're convinced Field Of Reed could slip into said territory. But it's an exceptional case, where its makers hit the jackpot, where imagination runs riot and gets away with every daring feat, each one more foolish than the previous.

The irony is that perhaps in trying to grow old a little too gracefully Jimmy Eat World have lost some of the youthful exuberance that so endeared them to us in those heady days around the turn of the millennia.

This isn’t britpop recooked, reheated or reserved. Be it 1993 or 2013, In Love stands proud.