Earrings Off! is undoubtedly a brave, intriguing release, and should cement Adult Jazz as a band you really can’t afford to ignore.

I wouldn't go as far as saying that Elson's debut is a flight of fancy, but it just doesn't engage the listener in any meaningful manner. An engaging artist should be inviting you to step inside their bubble, they shouldn't really need you to stand outside and wait for the pop.

While the likelihood of Surfing The Void achieving the same levels of critical or commercial success that Myths Of The Near Future enjoyed is debatable, Klaxons' status as one of the most confounding entities in the UK's languid music scene is cemented.

As it turns out, the defining feature of Out Of It... is this lack of a subtle affliction or blockbuster cataclysm with which to gel these 11 tracks together. Dig deep enough and you'll find a sketch of significance, a glimmer of greater worth but it's too ill-formed to really make out meaningfully.

With a soundtrack that captures the spirit of the comics with such fervency, conviction and discipline, Scott Pilgrim vs The World looks set to be a lot less dislikable than you might've hoped.

Elephant Shell finds the ambiguity created by this choice absolutely harrowing, however, and proceeds to run back to that basement with its eyes closed, one hand over its mouth and the other clutching its Bloc Party tapes.

V A R I A N T’s greatest strength is its palpable character, and his remix struggles to properly distinguish itself on an EP that is filled to the brim with varied and often unexpected takes on Frost’s music.

Don't get me wrong, this isn't an Emperor's New Clothes review, just an expression of concern: there aren't enough reasons for casual listeners to come back to this.

Though occasionally he could have done with his band mates to act as a quality control barometer, overall Odludek shows that Goodwin made the right choice to step back onto the treadmill.

It’s most thrilling moments are the ones you’ve already heard before.

Those aforementioned past tense references are telling, because that’s exactly where Go Away White sounds as if it belongs: in the past.

A little moderated, perhaps, but more mature too. For the first time in years, we are able to imagine that Ounsworth’s best work might still be ahead of him, rather than behind him.

So euphoric are the multiple highlights here that one can overlook the occasional dalliance with silliness.

Hesketh can write a damn good pop song, and whether that’s what caused the initial buzz, it's something hard to deny when presented with the cold, hard proof of Hands.

Taragana Pyjarama is unstimulating, oddly soothing in an anesthetized way, hypnotic in the most guileful sense.

The most positive thing to say about Walk the River is that it shows that Guillemots are still capable of producing beautiful, indefinable pieces of contemporary songcraft when the mood takes them. The most concerning aspect is that they're finding these diamonds increasingly scarce among the dirt.

No other band could legitimately produce this record without being accused of extreme plagiarism, and perhaps that goes some way to explaining why, despite its shortcomings, it is still likeable.

Rivers and his Weezer buddies are oddballs but finally they're our oddballs and Hurley more than makes up for sticking by their side through one of the rockiest relationships in recent indie rock history.

And there's a pleasing strand of experimentation running through The Fragile Army that, even though it could have been developed slightly further, suggests that the Spree are more than a one-trick, um, choir.

The Family Jewels seems to be to be symptomatic of a broader trend at the moment to demand our female artists be both credible and commercial at the expense of achieving anything great in either camp.

While Rebel Heart is greatly superior to her last set, MDNA, it suffers from the same malaise of of overabundance.

There’s also an over reliance on the sonic pallette of their Nineties forebears, but those feel like nitpics because Ratworld, despite wearing its influences on its sleeve, presents a world that is uniquely its own.

What makes Coachwhips bigger than the rock n'roll n'amphetamines and extreme petting that inevitably gets etched on them is sheer, dirty, bone-corroding, untamed noise.

Murmuration’s darkness is a source of foreboding, curiosity and yes, comfort.

With Better Ghosts, Mazes have proven they’ve got staying power.

The rest of the album has its moments, though mainly it seems like a chance for the GusGus gang to showcase what other electrified trickery they can muster.

Chasing Yesterday [is] an exceptionally easy listen that manages to stay just the right side of Easy Listening. An excellent record for Sunday mornings or autumn car journeys, staring at the landscape going by.

This self-titled album isn’t bad, and certainly far from unlistenable. But in refusing to risk being something other than middle of the road, they have become arguably worse. It’s boring.