Somewhat uneasy listening in places, yet sublime in others, Given To The Wild should rid The Maccabees of those 'landfill' jibes once and for all.

It's a glorious mess of contradictions, and what could say 'Manic Street Preachers' more than that?

An album that as a whole sounds like a collage depicting a comprehensive list of everyone who's anyone from the past 40 years of popular music.

As a whole the record is coherent, but contrast, juxtaposition and the element of surprise are the missing pieces of the puzzle.

Overall it's about as perfect as introduction to the band as you're likely to get, and perhaps a timely chance to give the Archers an opportunity to climb back into the upper echelons of your record collection.

The combination of Emmy and Tim's vocals is also a consistent issue throughout the record; partly a result of a seeming refusal to harmonise, but mainly because are both blessed with mellifluous tones that, whilst effective on their own, offer little variation or texture together.

Though few would have predicted this unlikely pairing and even less would have actively willed it to happen, the fact is that Smith & Burrows have forged a handsome partnership.

Oh Land, however, inhabits a tepid middle ground between the two extremes – offering neither gilded Scandi chart-pop (Robyn, Annie) or the artistic mettle of Scandi indie bands, most of whom are able to turn out sublime pop anyway.

Last Days Of Summer marks the point where White Denim left behind their schizophrenia and started speaking in one voice.

Andy Stott seems to be evolving with each new EP, and scales new heights with this one.

Before Spotify, this album could have qualified as a pretty decent starting point for anyone looking to bridge the gap between 'Friday I'm In Love' and 'Primary'. Now you can just arrange the studio polished tracks into a playlist, this kind of release is demoted to the status of fan favourite.

Oh Fortune is full of unashamed, orchestrally embellished pop-rock-folk hybrids, instantly accessible and almost as speedily rewarding.

Although this is a fantastic looking package, it really doesn't strike me as a particularly essential addition to the Smashing Pumpkins canon.

Although the consistency of last year's Your Future... is not reached, there are some fine moments.

As for the deluxe aspects of this release, the record sounds about as good as it always did.

Yet, as a whole, the record has one obvious flaw: it's dreary.

A few bursts of energy on the record make up for any lags, and should be enough to sustain those expecting Broderick's typical depth.

Bang & Works Vol. 2 also captures a genre in transition, as both the old guard and the young producers increasingly look to other genres for a way to progress the sound, or at least re-flavour it.

Arguably the most influential rock album ever recorded... everyone that matters – and many who don't – between Bowie and Radiohead cites it as an influence.

Mixing classic rampant riffs and exploring newer matured sounds, Moss and Co. have crafted another hearty album that should satisfy even the hungriest of followers.

The Singles Collection 2001-2011 proves that at times Albarn touched on a warped pop genius, and to his credit comes out of the project with his reputation as creative wanderer intact, but from the off the constructed barrier meant that there was always little to really love, songs hidden too much behind their glitteringly presented shells.

As is often the way with collections of B-sides, EP remixes and rarities, The Juan Maclean's Everybody Get Close is a mixed bag featuring some very lofty highs and a whole bunch of stuff that the world probably never cried out for, but will be more than happy to have gleaned as a result.

GLAQJO XAACSSO is a work befitting of inevitable acclaim, as it is a debut as riveting and obvious as it is shrouded in unanswerable questions.

This really is a fantastic record, a heartfelt postcard from our old friends who formed a band.

The five songs that Radiant Door is comprised of shows the band's pensive, if occasionally exploratory side.

Believers isn't a rousing album. Its allure is slow-burning, almost unnoticeable.

Polymers Are Forever lurches, strives and sneers with all the subtlety of a bulldozer through the houses of parliament.

As a beginner's introduction to Cornell's work, Songbook is exemplary, but for the fans, who this is apparently aimed at, it fails to completely satisfy.