They’re not inventing any new wheels at this stage of their career, but dEUS are delivering the goods at a level where established fans will immediately click their subtle steps forward and newcomers can get a grasp of what to expect from prior long-players should they decide to delve into the catalogue.

Just before World of Joy threatens to peter out entirely, Howler’s first ever attempt at a ballad strides in to offer some welcome variation.

On a cursory listen to Dig Out Your Soul, it's hard not to think 'yeah, it's Oasis' and then unwittingly switch off - not through boredom or distraction, but because it's all so comfortable and, well, familiar.

All we're presented with here is a collection of half-baked, badly-produced versions of sounds we heard a couple of years ago.

But most of all, these songs really blow, man. Way to top-load it with three half-decent tracks at the start.

Both as an album opener after a ten year absence and a spiritual partner to Public Image, This is PiL is pretty much perfect.

Thank f*** that they have delivered what we have come to expect from The Vaccines.

Year in the Kingdom may not be a feast of eclecticism, but it is a lesson in the construction of compelling, stripped-down folk.

It's the sound of a group ably treading water while its scars are glossed over with a Golden State tan.

Ultimately, and refreshingly, this is not commercial, but hauntingly lush electronic music for all to enjoy.

The album is called I Want You To Destroy Me and all it wants to do is live.

Esben and the Witch seem stuck on an autopilot where any levity is out of bounds and an abyss beckons for all the wrong reasons.

Following a good few listens, Up From Below's ebb and flow is replaced with definite peaks and troughs, leaving such highlights dulled down.

The raw elements are present, but Rossi is only 22, and has much time. Nevertheless this EP is a consistent 20 minutes of raw beauty, and holds as much worth in itself as it does in the anticipation of what could follow.

There are moments when the album loses its focus and blurs into extended jamming that doesn’t go anywhere particularly exciting, although Malone mostly manages to keep those tendencies in check.

Somewhere in Never Trust A Happy Song are the fragments of a great band, but sadly they aren't enough to make a great album.

All in all it’s another assured effort from a band who manage to stay relevant without compromising their creativity.

Lyrically lightweight though it may be, Icky Blossoms can be impassioned and angry, primarily when Pressnall takes on the vocals.

By focusing inwards, Born Ruffians have done that whole 'maturing' thing that us reviewers like to talk about, and created a much improved piece of art.

In spite of In Dream’s polite frills, big crowdpleasers, and abstract ideals, Editors still hold fast to a sense of self that throbs harder than ever.

Parts of this record sound more like final clasps of desperation rather than any forward progression.

Anthems is a confident, solid and ultimately hugely likable debut; Carter and Carroll have succeeded in producing something that on occasion genuinely lives up to its ambitious title.

It’s an album which is not sure whether it wants to be happy or sad; to accept the inevitable nothingness of existence or keep searching for answers.

It all adds to the feeling that there's no particular point or guiding aesthetic here.

There's no sonic arsenal, nothing to make you sit and check your ears, just gentle, simple songs that sound like the laments of a sad generation.

So whilst the fire might need more kindling before it can truly become a beacon, the potential and ambition cannot be faulted.

Junk is purely for Anthony Gonzalez. In that regard, it is indeed his most personal work. It is indeed a statement, though a cheap and hollow one, worthy of its title. Frankly, you expect better.

Individual tracks will wax and wane in popularity, and the genitalia humour of 'Sugar Lumps' et al might attract a wider audience who don’t understand the deadpan atmosphere of the rest of the show, but it’s hard to grow tired of this peculiar couple and their music.