Come album three, they’re not tied down to something tired or fumbling around experimenting with ill-suited sounds, but instead are simultaneously concentrated and expansive, defined by an addictive and inclusive sense of purpose.

With the exception of the dingy, dirty and grandiose boom of ‘Pulled Up The Ribbon’, most of In The Rainbow Rain is made up of occasionally-sombre songs cleverly disguised as up-beat, harmless, light-hearted tunes, which of course they’re not.

A glossy Sixties pop sheen hasn’t just been splattered wholesale over every track but instead nicely integrated resulting in a new and engaging, but hardly incongruous, Rumble Strips noise.

An odd little journey, but one worth making.

Straight out of a John Hughes screenplay, Welcome to Condale pulls off the feat of being thoroughly POP--polished and plump, preened for the screen and sequinned to the hilt--yet, somehow, marvellously INDIE.

This... might just be too scatterbrained for its own good.

Editors have crafted a bold statement of intent, one that hopefully suggests a continuingly bold future.

Green Lanes, the second album from Ultimate Painting, is really, really nice. It doesn’t do anything special, or new, or especially original.

It has a lot to offer around the edges, but is difficult to truly connect with at its core.

Far from perfect, but confident and assured.

Still is Thompson through and through.

The record doesn’t successfully break new ground as much as it reassuringly treads familiar paths

With Quarters King Gizzard they have produced an album which can be analysed to death if need be, but actually works better as something to be consumed as a whole.

The more restrained, and slightly less expansive feel, of some of the tracks here perhaps makes the record as a whole feel slightly undercooked in comparison to its predecessor. Nevertheless it is another fine entry into the enviable discography of one of the most sadly underrated of British songwriters.

The bloat of Tigers and Postcards is gone without a trace; in its place is the sound of a band that’s slain the AOR dragon and finally got back to making the music they feel like making.

While The Bloom and the Blight may have fallen short in some respects, in others its style blossoms. Two Gallants have matured their sound, and clearly so.

Wilson set out on a mission with this album – reinvent herself for the modern world, without her B-52s pedigree, by creating a totally new style for herself. And, by that standard, she’s largely succeeded.

Although not quite being the pièce de résistance Bobby Hecksher and co. were hoping for, Skull Worship is a welcome return and when all's said and done, the musical landscape would be a much duller place without them.

Albums such as this one will often be defined as ‘difficult,’ and the love of its content will derive more from muso appreciation than genuine affection. Six Organs of Admittance have sidestepped this by crafting a piece of work that diefies categorisation: it feels mathematically precise, painstakingly composed, entirely freeform and joyfully performed.

The second album from Cate Le Bon and Tim Presley carries the same sense of freedom as their first outing, this time a bit softer and more song-shaped than their debut’s meanderings.

It lacks cohesion, with eerie instrumentals featuring with gentle acoustic tracks, it is a noble attempt to progress a rather formulaic, albeit excellent, musical career.

She's made an album that only she could have made, and frankly it's refreshing to hear a female singer from a folk background whose most obvious and overwhelming reference point isn't Joni Mitchell via Laura Marling.

Teen Dream is kind of MOR, it would go down a treat at a dinner party, there are boring bits and the doleful DIY magic of the debut seems to have more or less run out. But it’s shot through with more than a handful of heartstoppingly wonderful moments.

Drever’s voice is well-suited to the lyrical sincerity of the album but avoids being overly earnest. While sometimes a bit sentimental, Drever’s gentle declarations of loyalty are charming rather than trite.

The drawback of News and Tributes more relaxed pace, is that the underdeveloped side of their work is more exposed.

The tenderness, and longing in her songs are inescapable; it’s subtle and affectionateness are feelings long sought after in today’s landscape. We should long for more Khouri.

Lysandre justifies its own existence by virtue of its own wide eyed wonder, its own vulnerability, and its giving sense of heart.

Despite something of a slow start, Letherette builds into an expansive, absorbing album, spanning a huge variety of influences and threading them together impressively within a coherent framework.