Ordinary Corrupt Human Love is a waypoint in an increasingly divided world of niche cultures and categorisations, and it’ll capture the imaginations of those secure outside their comfort zones while further alienating detractors. Mission accomplished.

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.

If you’re a Dinosaur Jr fan and you can live without a couple of Lou Barlow tracks per album then it would be well worth checking out Elastic Days and hearing J do what he does best in a slightly different setting.

The result is a bright and breezy album that’s easy to like, even if Dawn’s palpable enthusiasm does occasionally tip over into being cloying.

It’s not the Arctic Monkeys you might expect, and living inside Alex Turner’s identity crisis can be an occasionally uncomfortable experience, but give it some time and this sixth album reveals itself as one of the most interesting of the band’s career.

his is The Veils as you would expect to find them, untroubled too much by changes to their formula. And that’s just the way that most of their loyal fans would probably want it.

What Neufeld shows again in The Ridge is that the violin and her superbly expressive playing is more than enough to make for a great record but it shows this at the expense of making the other elements thrown in occasionally feel superfluous or underdeveloped by contrast.

There’s a difference between original and interesting, though, and there’s plenty of the band’s own identity on Cursing the Sea, which marks the start of what could yet be a tremendous 2014 for the quintet in deliciously dark fashion.

I Don’t Want to Let You Down as a whole serve only to fuel, rather than dent, the anticipation that Are We There rightly stoked.

He trusts in the strength of his lived-in arrangements and, on another album of beautifully detailed folk songs, he’s absolutely right to do so.

Transgender Dysphoria Blues demands a more visceral reaction than mere respect. These songs have just as much heart as they do guts, and the LP stands as Against Me!’s first forward looking album since Searching For A Former Clarity.

It’s also not a record where you’re instantly gripped round the neck, it’s more a gradual clamping before nails start to dig deep into the skin.

If you can get on board with Harvey's uniquely theatrical songwriting style, then there's a prismatic world of life, love, indulgence, abandonment, betrayal, and ultimately, death in this record. Sadly, for those of you happier to be six months clear of pantomime season, it's maybe a struggle to appreciate these songs as much more than histrionic fiction.

Despite its supernatural setting and modern day political commentary, you get the sense that Yorke remains hopeful amongst the darkness. Perhaps this is down to age, perhaps it’s some sort of foolishness--but the optimism never completely fades from Suspiria and gives it a human quality that is not immediately obvious amidst the Seventies synths and modal incantations.

There are moments where the live dynamics allow the songs to hit a few more buttons than the studio recordings did, but ultimately it was an overwhelmingly visual show and it feels like everything here is lacking its USP, no matter how good it is.

It may not quite equal Person Pitch or Tomboy, but in its own way could prove to be even more important for Noah Lennox.

Made In The Dark must rank as something of a missed opportunity, but as a bigger, bolder (if overlong) follow-up to a deservedly popular second album, they’ve succeeded admirably.

No Mythologies to Follow is perhaps better taken as a really strong collection of singles (or potential singles) than a complete body of work, but that’s its only real weakness.

While it perhaps doesn't achieve all it sets out to, it is regardless an intriguing, immersive combination of old and new.

Thankfully there’s enough genuinely high quality Fall material here to ensure that any newcomers to the band are fairly sure to move directly from ‘Quit iPhone’ to ‘Frightened’, ‘The Classical’, ‘New Big Prinz’ or another classic Fall album opener.

As an album, it's divided into eight tracks but there's no sense of division whilst listening to it, it's one of the most seamless pieces of music I've come across all year.

In truth, Animal Collective didn’t really need to depend on the visual accompaniment to Tangerine Reef as the record does extremely well to capture the essence of the life aquatic on its own.

Albert Hammond Jr. has a solid album on his hands, but it is what it is: Momentary Masters isn’t veal, but a damn fine cheeseburger.

It’s just a guy bashing out some songs with a friend back in the Seventies--yet it’s a kind of reverse Best Of: a hits collection of songs before they were ever known, now released after all but two of them are firmly fixed in the Young cannon.

While the album is nicely succinct, it lacks a peak, a song to get really excited about.

What makes the largest impression though, as ever, is Darnielle's ability to build the most affecting of scenes from the smallest suggestion.

A pleasantly surprising album then that will hopefully earn its creator his fair share of deserved recognition.

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.