They are a less irreverent and more melodic Art Brut, swapping that band’s caustic wit for a far nicer type of honesty.

From one angle Earthology could be regarded as indigestibly worthy and academic, and there are moments such as the bamboo-beating 'Ntu' which will definitely test the patience of the casual listener. Yet there's still a funk of an admittedly spaced-out ilk at the album's core.

A fine album which might be too much of a period piece to truly be the 'sound of 2012' or somesuch, but has a greater chance of making Sophia Knapp into a minor unit-shifter than Lights or Cliffie Swan ever did.

Last Evenings on Earth is as vast and sprawling as their self-titled debut, yet at the same time it’s concise and refined.

Slow Club wear the album’s mood well, and its consistent feel gives the whole record a lovely cohesion, but there are some drawbacks to the approach.

On La Di Da Di Battles feel like they are, slowly, finding their way in the right direction.

Overall, Regions Of Light And Sound Of God is a good rather than great album, lacking some of the spine-tingling dynamics of My Morning Jacket but delivering a consistent vision than many of their efforts.

These five songs illustrate the beauty behind a constant movement, instead of dreaming up a desired fate or meaning. It treats tranquility and chaos like elements we could harness, not opposites we must cement in our fleeting existence; the doing instead of the being.

That’s not to say this isn’t promising as a progression from the last album, with signs of grand ambition and more directions to explore.

Judy Sucks A Lemon For Breakfast is a vibrant collection of songs that further illustrates the importance of Cornershop over the past two decades.

The naysayers may have a point, this might not seem like an aural paradigm shift to some, but Paracosm is still a vital progression for Washed Out.

Fever then, is an album with an audience already writ large. If the idea of ‘cosmic jams’ brings you out in a cold sweat, then this isn’t a record for you.

There aren’t many musicians in the country as creative and as interesting as her at this point in time, and Welcome Back To Milk represents another triumph in her weird and wonderful saga.

Other than the production, Tell Me I’m Pretty sits very much in the same league as Melophobia--a confident, eclectic rock record with heaps of personality and charm.

Throughout Heartworms, Mercer and company prove that their sparse output is well worth the wait. The totality of the record is enough to engulf listeners in myriad textures accomplished via sound and vision.

Where TFCF will stand in Liars’ overall oeuvre remains to be seen, but for an album that wasn’t expected to be a solo piece, Andrew does very well on his own to make his mark.

Whether or not this is enough to inspire acolytes the likes of which this writer had a first-hand audience with some three years ago remains to be seen, though Folie à Deux does look certain to satisfy fans' appetites as much as it may surprise and intrigue certain others.

Sometimes the sheer sumptuousness of the sounds, of Merchant’s cold, clear voice negotiating lush jungles of brass and cathedral-like groves of cello, is enough in itself. Sometimes, you can’t help but wish for more.

Once all is done and danced – in under 35 minutes – there’s no immediate desire to go around again.

'The Invisible Invasion', like both it's predecessors, takes one or two listens to really get into, but once there has an engaging appeal about it that makes it possibly The Coral's most obvious "singles" album to date.

All told, Static is definitely worth your time, ­but it falls short of being the truly great record that Cults will hopefully go on to make.

It's nice, pretty sounding brain candy, sugar-coated technical ecstasy. But it sometimes leaves the listener wanting a bit more substance and a little less style.

I can't say if you liked Preteen Weaponry and Rated O then you will like this for sure, because it is a departure. Nonetheless if you were minded to like those two records and if you are after a record that is in pretty much every sense a 'challenging' listen then Absolute II should tick all your boxes.

Even if plenty of the songs on this record could be easily mixed up with something from their past two records ('Window Sills' and 'New Schools' are straight off Everybody), their idiosyncracies never diminish any of this album’s terrific songs.

Despite the album’s plethora of stylistic shifts and breakdowns, there’s a solid coherency to The Information that allows it to flow from beginning to end without the listener losing interest.

An experiment in style that is perhaps a little confusing at first; but more than makes up for it in its grace.

Jake One may not be the "perfect beat-maker" he proclaims to be, but on the occasions when he finds the right connection, he can be tough to beat.

This record tames its chosen songs, moulding them into softer and smoother beasts, and producing altogether sanitised interpretations.