Does Tentacles live up to those high standards? Nah, but it doesn’t embarrass itself, and that’s praise enough.

It’s an extremely sprightly record for a man pushing 90, and though there’s no way he can recapture the era-defining energy of his classics--cuts so pervasive their DNA is present in every rock song for the last 60 years--there’s a lot of the spirit of that era here.

Nude With Boots is an enjoyably acerbic listen, with a decent spread of compositional variety, that empties its acid bath just occasionally enough to give its audience time to towel off the waves of tumultuous noise.

Subtlety is an early casualty, lyrics and riffs hitting with all the grace and charm of a sledgehammer.

There's nothing as straight-up enjoyable as 'LDN' or quite as remarkably scathing as 'Smile', but sticking with It’s Not Me, It’s You and penetrating its jarringly slick-meets-Garageband-amateur exterior is wholly advisable. Not perfect by any means, it nevertheless cements Allen’s status as a chronicler of daily existence.

‘Hocus Pocus’ is a tricky record to listen to and it’s twisted roots of songs are unlikely to win the band much more than a cult following.

For now, this just about gets the job done, but a little more variety, even if it's just a return to the noisier interludes of those past recordings, would be welcome next time.

If you’re looking for a neat musical reminder that David Crosby is one of the most influential men of his era--and can still sparkle with some of that same musical magic today, Croz is a worthy listen.

You may not get on board with it as quickly as Gossamer, but it possesses greater replay value. Angelakos has made an album celebrating stability, and it'll be interesting to see what happens next.

You’ll probably like this album if you’re a metal fan. But don’t expect it to enlighten you.

More often than not, there’s a controlled confidence and sensitivity behind each note that makes for a powerful delivery. Rumer should be praised for taking on such a feat, handling the weight of the songs, and producing something filled with raw emotion, maturity and depth.

For the most part Underneath the Rainbow lacks the acerbic wit that has underscored so much previous Lips material; there’s a handful of tracks here that really are sorely lacking in character.

We’re unlikely to see the power or the passion of Manson’s classic run again - it’s very difficult to bottle lightning twice - and you shouldn’t come to Heaven Upside Down expecting anything as textured, interesting or frightening as those early releases. That said ... It’s business as usual, but after a decade of disappointment, it’s good to know business is doing well.

The problem with ‘Push The Button’ is that it’s all so predictable.

Grapefruit is fabulous. It is challenging and it is fun.

Tron: Legacy is a remarkable reminder of how electronic music can equal the emotional nuance and resonance of any ballad, torch song or symphonic pop track.

The album doesn't have that 'grab-hold-and-don't-let-go' emotional pull that would elevate it beyond sounding nice into something to treasure. It's worth your listening time though, because even though it's not always consistently a great album, it's never less than an intriguing effort.

Making Time has some really great tracks, but maybe with a little more time spent on a few less ideas it could perhaps have been a great album.

Despite its hefty length, then, Atgclvlsscap works as a triumphant departure from the confines of the temporal.

Despite an abundance of textures Codes and Keys seems somehow sparse, empty calories around a hollow centre.

Setters of trends, they will not be, with this offering. Providers of mindless, chaotic R&R, they most certainly can be.

The results, in this still-formative period of their development, have been predictably mixed.

It’s not often you find music that lives and breathes with such conviction that you find itself swept away in the charm of it all. That Do Make Say Think have achieved this lofty standard yet again shouldn’t come as a shock, yet it’s testament to their enduring talent that, at every turn, Other Truths continues to surprise and enthrall in equal measure.

The opaque nature of Family makes it seem like a prime candidate for remixes with a touch more bite, but as it is, this is a record to fill those times when Panda Bear seems just a little too raucous.

After eleven songs, the band’s inability to stretch their sound starts to take its toll.

It can seem unfocussed on occasion, but that rush to cram in influences from disparate sources settles into a pleasing hodge-podge in the second half of this album.

There is no concept, because sometimes an album just doesn't need to confuse itself with one, this is simply a collection of heavyweight dancefloor bangers and should be enjoyed as such.

For all its many laudable attributes, Tales from Terra Firma proves ultimately frustrating: a skilled, capable and talented band still unaware of how best to channel and control their creative energies.