It’s a decent snapshot of that nebulous minimal-not-minimal sound at present.

There is enough great music here to make Ivory Tower a worthwhile listen, but this soundtrack drifts in the void between the two extremes of his back catalogue.

The reality is that it's more complicated than simply saying I preferred their early stuff, because all bands have to change. The fact is though, it's impossible to forget that Jimmy Eat World can, and have, done so much better.

Palace is neither quite as original nor quite as good as the hype would have us believe. As an album, however, its strength lies in its depth of feeling being instantly recognisable to any listener who's ever had their heart broken, broken a heart, or generally had a romantic endeavour that's gone a bit shit.

As 'The Little Death (In Five Parts)' started I questioned whether this record would start to fall down a slippery slope and plummet to the ground faster than a lead balloon falling from the sky. Fortunately 'The Little Death (In Five Parts)' reinstated my faith and any trepidation and scepticism I had is instantly diminished.

There are some brilliant tailpieces on Black is Beautiful and some wonderful impressions of a travel sick Alan Clavier, but they're hampered by too many dead ends and retreaded ground.

On A Bedroom Wall is a work of music that won't be matched this year for its pained beauty.

Ultimately though, they don’t commit enough to the sonic range which they eventually bring to bear, focusing too much on middle-of-the-road indie-folk.

It’s an oftentimes stunning piece of neo-pop that’s enabled La Grange to catch up with the zeitgeist that so eluded her two years ago.

What ultimately makes Condemned to Hope a real success, however, is not so much any of these things but the sheer conviction with which it delivers the goods.

This is the richest, most musically complex she has ever been.

It’s more that as a whole, Bizarster just feels a bit lazy and thrown together, and fails to have any real continuity which can hold your attention for the hour that it plays out.

Comprising of a sound that, though perfectly pretty, has already been done, and words that have already been said, Theyesandeye doesn’t really bring anything new to music.

There’s a sense of being 'finished' after every single track, and it often feels like you’d get the same experience but quicker listening to any single track individually instead of the album as a whole.

For the most part it's good. Very good.

While Not Too Late is a shade darker than her mega-selling, Grammy-winning template, it's highly unlikely to win all that many new converts, and fans may find this album a little bit of a slog in places.

If it's quality songwriting you're after, you've probably come to the wrong place this time, but what New Chain does offer is a 35-minute celebration of the spirituality of sound, bursting with life and soul, as thrilling as it is giddying.

Liquid Cool is at its best and most interesting, though, when Gonzalez’s sound plays with the way our brains and human interactions have been rewired in the modern age, raising the bar by creating impactful moments via osmosis.

While Lambs Anger is in no way easy, brimming with first-degree sonic battery, it is compulsively listenable, and is most likely his, and Ed Banger’s, best album to date.

What’s interesting about A Productive Cough is how accessible it is compared with the band’s past work.

If in the meantime you've lost your copy of Loveless, you could do far worse than listen to Colour Trip.

Easy to enjoy, if not adore.

The LP as a whole is a remarkable collection of ideas, which manages to be overwhelmingly creative, but intrinsically listenable.

There's a profound lack of any surprises, anything you might not expect, any... inspiration.

He circumnavigates his more common interest in black humoured songs in favour of playful experiments removed of vocals but layered with electronic production.

At times, it is derivative, channelling everyone from Passion Pit to Bowie himself, but it subverts both those acts by being excruciatingly personal and that is where Milagres' real strength lies.

The album only features nine tracks, but somehow still contrives to feel over-long and lack cohesion.

The main flaw with Eno and Holland's collaboration is that words which, read on a page or spoken into silence, might have the space to spark a host of mental images, here frequently seem flattened by the music.