More a record to crush on than fall in love with, but free it from expectations and it'll take a small part of your heart.

This is no groundbreaking piece of art; it's not innovative, it's unashamedly backwards looking, and it rips off the greats to high heaven. It's also bloody awful for a significant amount of its running time. However, when it does work, it's a great thing.

On Why Choose?, they sadly lose a lot of their manic, propulsive momentum.

What we get is an interesting departure from his usual work, but not interesting enough to create the eternal music that he is talented enough to execute.

Some of the characters created here are more fully formed than others.

Easy to enjoy, if not adore.

Chalice Hymnal drifts a lot and while every song is distinguished, too often shorter tracks don’t feel as fully developed as their longer brethren.

Pantha Du Prince describes The Triad as 'about more human ways of interacting... about meeting up and jamming' and, in many ways, it does resemble something close to a jam session where unpolished but great ideas are worked out to be developed more fully later.

Ultimately there are only so many excuses you can make for the fact Here Lies Love isn't an out there masterpiece, merely a somewhat outré easy listening album.

The tracks' durations are, to these ears, not wisely distributed and this is possibly the album's biggest drawback.

If Pop Levi’s intention was to create an ornate pop star persona, then he’s definitely succeeded. However, his songwriting skills leave a lot to be desired.

The result is a pleasant, occasionally beautiful, collection of singles that doesn't take itself as seriously as the buzz surrounding it (so you don't have to either).

Fortino may not have hated the world away, but she possesses a similarly intuitive ability to block everything out so she can operate in her own peculiar vacuum. It’s an admirable quality, but the desperately sad nature of her music makes it a place that’s difficult to visit with any degree of regularity.

The band have hardly been better than on that EP’s opening three song suite and that’s what is so frustrating about I’m Going Away; it’s not a bad album, but the band are capable of so much more; the title of the album is at least apt in that the Friedberger’s don’t sound like they are here for this record, it sounds like they already left and phoned this one in.

A record light on substance but packed to the rafters with melody - there are plenty of cheap thrills to get jiggy with.

The rest is solid if rarely spectacular, with the Crazy Horse rumble making a welcome return to Young's modern day repertoire.

Against such a strong back catalogue, Meat and Bone looks set to go down as an addendum rather than a milestone.

Deliciously downright dirty.

Indeed, the first half of the album is a tale of peaks and troughs, its highpoint being the dreamy 'Hamster Suite' which bears similarities to both Deerhunter and Blonde Redhead in its opulent make up. The second half of Pussy's Dead fares much better.

It's great, but for all Butler's desire to bring this to the now it's best enjoyed by those who are able to take this as a polished trip down memory lane or as a launch pad to jump back into the history of dance music.

The Follower is a decent enough record, and is worthy of your time, but lacks that special something that sets The Field apart in the techno world.

Xenoula simply meanders at times, losing a distinct sense of urgency and focus and washing over the listener like gentle lapping waves leaving little in the way of residue behind. Nevertheless, there are times when Xeno’s music becomes less translucent, harnessing its subtleties to create hauntingly ethereal sounds that do evoke vibrant images of her dual lives.

Pushing her quirks even further and adding new sounds to her toolkit are obviously admirable attempts to deepen her interest. But there needs to be more in the actual material to bring the listener out into the cold with her.

The thing is, Mogis’ ‘Americana’ treatment of Lavender Bridge’s core material all too often saturates each song, soaking though to the core of Hynes’ material and threatening to set in to rot.

A spokesperson for wearied souls, Waxahatchee leaves the rest of us intrigued but far from in love.

Here we have a garage-rock band with lounge-pop leanings. Which is fine - but that’s all.

Let's not pretend that an excellent lead track and a handful of perfectly agreeable additional songs is bad going for an odds'n'sonds EP. Still, in both its strengths and weaknesses, thecontrollorsphere is suggestive of a band in need of some renewal.

Glow, then, is generally a mixed bag, gothic, cinematic and made for large spaces and big stages.