Some listeners will have been craving something more alienating to sink their teeth into, but what we actually have is an appetising, confident statement of intent from a band that want us to know that they are still a force in contemporary music.

The combination of Mercer's lyrics and indie-boy-who-can-actually-sing vocals, paired with Danger Mouse's undeniable ear for awesome pop, means it's always going to be well above average. Very good, in fact. Occasionally great. It doesn't need to be anything else.

What Multi-Love lacks in immediacy it mostly makes up for in aesthetic.

Whether it's their best collection to date would be open to debate (and to these ears it isn't; Union still takes that accolade by a fair margin). In any case, it should serve them well both for the present and the future.

Chance of Rain defies easy explanation, an album that is more like a bout of freak weather than a light shower.

It might not rocket them out of their obscurity but Disappears have created a record that can appease fans happy with how they sounded anyway and those that are searching for something new.

All in all, With Siinai: Heartbreaking Bravery has the air of a project to it rather than a vital artistic pursuit.

To cap things off, there's an untitled track that feels distinct from the rest of the album, it's recorded in a pre-war style and sees a guitar gently plucked next to Taylor's voice. It's a charming end to a stunning, yet intense emotional ride that Piano takes you on.

Like a Shakespearean monologue you're either going to be living every moment with the narrator or gazing on indifferently as your attention drifts away. For those in the former camp, this is a challenging listen where life mirrors art in a profoundly resonant way.

It might tend more towards solid songwriting than reinvention, and might not quite reach the heights of lunatic brilliance of its predecessor, but as far as most people's dream of what a proper pop album should be, Lupercalia certainly comes closer than most.

Pe’ahi is an uneven reinvention, but it’s a brave one, too--the manner of its release isn't the only surprise that comes with it.

In principal this is another finely crafted record in the vein of much that has been released by Neurosis since 2000. The problem is that what sounded so exciting during that vital three album run identified earlier was never going to have the same impact today.

Angel tells a story but it's nothing you haven't heard before.

There are passages of relative inaction in the music, while Frahm gives the narrative momentum its space. But happily, not only does this create what’s probably a remarkably well judged score which neither overpowers nor outperforms a film it’s supposed to be complimenting, it also results in a strong stand-alone mood piece, thoroughly deserves to be heard by all of his admirers.

For the most part, Evertything Ecsatic succeeds, but occasionally Hebden strays from the path.

Certainly no misnomered record, Extra Playful sounds more fun, excited and full of joie de vivre than anything else in Cale's extensive discography.

One Breath benefits from its variety and from a taste for experimentation which, striking subtle chords that invite the listener to stay and revisit.

Sex With an X exceeds all of the expectations we didn't know we had.

In terms of vulnerability, adrenaline-overdrive and frivolous riffing, however, II is firing on all cylinders.

However, as difficult second albums go; and given the circumstances Something emerged from, difficult would be the operative word; Chairlift can be proud at what they've accomplished.

The version of the band audible on their second album is one that's on a sugar high and fuelled by a desire to create loud and fast music that doesn't skimp on the hooks.

Cape Dory is a more than satisfactory introduction to the world of Tennis and their travels, and perhaps unintentionally, one of the more unique additions to the current penchant for all things lo-fi in a Spectoresque kind of way.

An unexpected treat.

Going forward, The Molochs may want to deviate a bit from the formula they used on America’s Velvet Glory, which gets pretty well worn even though the record is fairly compact at only 11 tracks, but it works well as both a cohesive throwback and a character study.

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.

It never ultimately transports you into his head or heart. All of which doesn’t stop Oracular Spectacular from being a blissful 40 minutes of high-end stereophonic joy, but it does severely hamper the listener from imbuing their own emotions back into it.

Despite the album peaking early, though, there's more than enough evidence here to suggest that Hauschka, thrillingly, is just getting into his stride.

It's Central Market, his second full solo release, that sees him coming of age in a manner that befits the familial myth.