Yet while this is good mood music, like a lot of soundtrack material it requires the element inspiring it--the visuals.

Whilst the songwriting skills are still being honed, Soft Friday represents a solid step for a promising duo.

Ward is one of this genre's best: playful, diverse, and endearing, he has the crucial thing needed to make it work: charm.

Optimisme is more Garageland than Graceland in its approach.

Island Of Noise is set to be a sustainable release, with some intoxicating visual art, thoughtfully sourced and sensitively delivered. This attention to detail runs through the pores of the music, giving the repeat listener something new to discover with each visit but, like the peacock butterfly, making a strong first impression too.

Set It Off is the work of a talented rapper with an interesting taste in production. Offset just needs a bit more consistency to stick the landing.

There’s no doubting that The Ridge is a good album, but sometimes the supporting players don’t quite compliment Neufeld’s compositions as well as they might.

And They Turned... is at times confusing, frightening, and strangely beautiful.

While Those Dancing Days may struggle to last in the easy come, easy go world of indie pop, let alone stand out amidst the current glut of Swedish imports cluttering our shelves, In Our Space Hero Suits proves they deserve their five minutes of fame.

It may not be there with their best work, and it might be seen by some as a bit of a stopgap, but there are still times on Thrashing Thru The Passion that The Hold Steady can effortlessly remind us that they remain the ‘best bar band in the world’.

This Is… Icona Pop is a worthwhile listen because it doesn’t dumb down. It’s not trying to enlighten, either.

It feels great to have them back with us, and their forthcoming live shows promise to be awesome, vital affairs. But it remains to be seen how many moments from Hug Of Thunder will make their way onto people’s Ultimate Broken Social Scene playlists in coming years. The thing with songs for now is that they’re not always songs for tomorrow.

No weirder-than-thou fragments and rejected material here, though: this is a seven-track collection that holds a general, accessible appeal for fans of all things sunfried and fuzzed-out.

The tunes here are good enough to warrant repeated listens and when the album hits its stride, it's got a couple of proper anthems. It's not trying to be anything particularly clever or innovative--and it's fair to hope for some sort of evolution for a second album--but the trade off is a satisfying one.

The noisy production doesn’t fall into the trappings of obfuscation, and with more adventures in the world, Dub Thompson should iron out the flaws of their debut into a more conceptually realised sound.

It is clean, polished rock with a vaguely punk edge that stays within a clear set of boundaries but in doing so manages to appeal to indie-kids and metal-lovers alike.

The middle of the album is weaker, with Cupola Smelt Mill’s coda being far more interesting than the rest of the track and Slack Sley & Temple’s arrangement so bare that it starts to feel like a mind-numbing endurance test.

At other times these arrangements can feel a little staid, but that doesn’t keep Weather Alive from being an engrossing listen especially as Orton dominates the proceedings so expertly.

Noisy and chaotic, passionate-sounding, complicated and confusing as it is, it nevertheless emerges as something a bit more than the sum of its manifold parts.

At times it relies too heavily on retro stylings, with a resulting sometimes rather one-dimensional sheen, meaning that the more serious messages the band are expressing can get lost in the mix. But as far as ’70s tailored rousing rock in 2017 goes, Sheer Mag’s work is best in class.

His voice sounds better than ever, and while nothing here recaptures the glory years of The Verve, his songs are more focused than ever before.

For anyone that even slightly misses the decade that saw Britpop bands pop up left, right and centre you could do a lot worse for your health than take in some Superfood.

It’s an intriguing mixture of pure punk, post punk, and first-wave emo--think Fugazi or Rites Of Spring--though the moments of deliberate discordance are as frequent as the buried melodic gems.

Quite what has held back the milieu of meandering morons that make up the music scenes mid range, mid class, middlemen is probably this intelligent and creative leap; crossing genres and keeping your opus open and fresh.

Maybe not an essential purchase, but if you're already counting the days down until the official third album The Crying Light is released in January, this should more than satisfy you.

The lovelorn subject matter is at times overbearing, but nevertheless Homesick is a decent listen from start to finish and its consistency is impressive.

The two records are essentially similar in their mood and effect, and the snag with this album is that it follows the formula set by its predecessor uncomfortably closely.

This is a creditable follow-up from a band re-establishing and confirming their status as one of UK music's more enjoyable and innovative bunch of eccentrics.

It’s encouraging to find Kid Koala beginning to push the envelope and explore new territory, and these transmissions from the satellite heart are a fine starting point for future adventures.

It’s a honey-coated gem of funk-infused pop, and when it shines, it’s a disco ball, a ’70s disco full of glorious hooks, where Gikling and Santos’ vocals balance one another in the most beautiful way.

As it turns out, music of surprising intricacy and beauty lies within these canvases, but you'd be well advised to consult your musical doctor before opening up fully to them.

There are certainly moments that feel like filler, but there’s much to like about Ghost Outfit. I Want You To Destroy Me is not life-changing or revelatory but it is a solid offering and occasionally provides the odd knockout blow of a song.

This record can sound slightly off-putting at times, but that's what makes it so compelling.

Poemss is very much a new venture for its makers that has precious little, if any, resemblance to their previous work. Instead, it’s something of a musical reinvention, and the possible beginning of a very fruitful partnership.

All this adds up to a qualified success, but it will certainly split opinion among his fans.

All in, this is a welcome return.

This is an album to be enjoyed whilst snuggled up in the arms of the love of your life.

Like fine steak, Born Villain is at its best raw and bloody.

The melodic writing is good but not always as memorable as Daft Punk’s pop sensibilities would suggest. Yet there is much here to enjoy, and to suggest the next chapter in Thomas Bangalter’s career will see him flourish as an orchestral composer.

Whilst this emotional look back [fourth track Sandlot] might suggest they’ve got one foot in the grave, there’s plenty of fight left yet. In the past, this would have taken the form of furious punk, but this time around the Dropkicks have expanded their sound out into something far grander than anything they’ve attempted before.

Deploying ominous cinematic pacing and diaphanous harmonics, the transient Kaminari effectively incorporates an illustrative quality reminiscent of Cocteau Twins‘ Liz Frazer, before the Montreal musicians revert back into classic rockabilly mode and on the voyeuristic shuffle of Sarabande, they fixate on the more gonzo hallucinatory aspects of tropicalia and Turkish psych rock.

Not all their ventures are successful, but with a final play on words it’s more Power to Editors’ elbows, for once EBM takes a firm grip on its listener it does not let them go.

Me Moan is a flawed work, but even those who decide it’s not for them are likely to concede that no one else quite sounds like Gibson right now. With genuine originality at a premium these days, that’s to be wholeheartedly applauded.

A Coliseum Complex Museum, despite sporting yet another bonkers title, is a top effort that bolsters their burgeoning reputation, even if it doesn’t quite reach the highs of their very best.

It's tempting to deride the album as too similar at times, but the truth is that each of these songs is a perfectly sculpted and realised work of wonder revolving around a couple of central themes, which appears to be based primarily in the sounds of the Orient and the South American rainforest.

Overdriven, overblown and utterly exciting, it might be nothing new, but it’s a thunderous reminder as to why rock is so enduring.

It’s a record that follows in the footsteps of its predecessor, offering up melodic psyche-pop numbers in which walls of sound are daubed with deceptively dark lyrics.

Communion’s minimal song titles are indicative of a no-nonsense approach to song writing--but like most good pop songs they unpeel different layers of production with repeated listening.

Though it has become something of a tired old format in much incidental music for the moving image, Greenwood shows how the string orchestra remains a descriptive force in the right hands.

At just 34 minutes, Could It Be Different? rarely takes a breath, propelling us forward, dancing and laughing, towards whatever comes next.

The temptation to skip back to the start will probably creep in after a few plays, but stick with it and further, less immediate treasures will be revealed.

This is an intriguing record whose rewards come slowly but which leave a lasting impression. There is a restless quality to Sam Eastgate’s songwriting that feels very much of the times in which we live, but there is a warmly soulful side to balance it.

The overwhelming feeling at the end of Black Rat is that this is a band with a lot more up their sleeve.

New drummer Alexis Nunez adds a percussive edge, but much credit must go to hip-hop co-producer Inflo for this fresh lease of life.

It's not the most instantly winning of albums, but its rewards become evident after repeated listens, its subtleties revealing themselves like an unfolding paper fan.

It will take a few spins to fully appreciate it--the songs are not always compelling in the way that they should be--but there’s plenty of proof that they have uncovered a bit more depth, both musically and lyrically.

Seven years after their first release, they've gone from being That Band Who Did The Kate Bush Cover to a genre of their very own, with a thousand identikit wannabes, and The Chaos is the cherry on top of their spiky, raucous, post punk cake.

We are left with an album that has several great tracks, but whose filler and repetitive subject matter prevent the Jonas Brothers from realising their full-grown potential.

Kurr's claustrophobic sound causes a restless reaction. For all its fragile beauty, it's at its best in small chunks.

While Ashin is clearly a major talent, he just needs to dial it down from time to time if he’s to deliver a wholly satisfying record.

Tales From Barrel House is by no means without flaw, it's too untameable for that--but when it shines at its brightest, it is every bit as alive as the people and lands it attempts to portray.

While the album does tail off slightly towards the end, III is for the most part a solid comeback for Shiny Toy Guns.

Even if their musical influences are still heavily apparent, at least Little Victories shows the band writing all their own songs with growing assurance.

It’s an album that stands up on its own and remains, musically at least, a positive, upbeat and highly enjoyable album.

Whilst not perfect, Nobody Wants To Be Here And Nobody Wants To Leave is, as the cliché goes, a return to form and the album of a band that has rediscovered what they’re good at.

Relaxed but restless. It’s a powerful combination for a successful début--and as Miller is still in her early twenties, greater life experience can only enhance her musical vision.

The concept is realised for the most part, and while some more variety in the 'musical memories' might have been nice (along with a little more length), there's not much to knock in a cracking example of that rare phenomenon--listenable concept art.

It is something of a slow burner, and familiarity with their back catalogue will certainly add depth to the whole experience, but those who come to it cold will find the immediacy and vigour of the likes of Public Enemy No. 1 irresistible.

The 11 tracks are in fact roughly split between the folk/country side and the jazz/cabaret side, and this makes for an album that can at times dazzle with its omnivorous verve, but which also has a tendency to become disjointed.

It probably won’t be for everyone – what one person may find mesmerising and hypnotic, another may quickly find repetitive. Salt River is never dull though, despite its slightly narcotic haze.

This isn't an album of standout moments though per se; rather it's a record to be enjoyed as a whole. The true worth of each track is found in listening to them in order start to finish.

Earth To Dora finds him in a relatively peaceful place – and it will have a similarly calming effect on Eels fans too. More than 20 years on, this band are still very good at what they do.

The rich history which The Diving Board draws on also slightly undermines it: there is certainly nothing bad here yet so much of it has been done by Elton before.

For some the relentless artificiality of this album will make it hard going, and is likely that Walt Disco will make better records, but as a debut this is assured, individual, and liable to incite a thousand arguments about teenage clothing choices. Like all the best pop music.

Tomorrow's World appeals to fans of Erasure's later albums just as much as it appeases those who swooned along to A Little Respect in 1988.

While Further ironically does little to further The Chemical Brothers' sound, they have once again produced a strong and sturdy album of high quality electronic music that still leaves many of their peers sounding one dimensional and unexciting.

Cold Spring Fault Less Youth is an album that’s as purposefully awkward as its title: cleverly put together, but occasionally just not very much fun.

Free is not as lyrically emotionally resonating as Blackstar but it evokes similar feelings. The reason that it doesn’t fully pack the same punch is that there is a sense that he cannot fully commit. It is a solid album, but just leaves you wondering slightly what could have been.

Occasionally, as on Carolina or Only Angel, it dips into bland pastiche, but generally this is a fine solo effort from, lest we forget, one of the most famous twentysomethings on the planet.

It’s a real skill to make what is essentially pop music that also manages to combine depth in lyrics and cheerful tunes, and on this album Frankie Cosmos absolutely excel.

Although there’s a lot to enjoy here, with the band on something like the crisp, playful form of TNT, the best moments seem out of place and the rest a bit meandering; while previous releases have always felt thematically strong, even while jumping stylistically from Ennio Morricone soundtrack-isms and cool jazz to downtempo grooves and minimal drum and bass, it’s hard to pin down exactly where this is aimed.

Tinged with jazz and various world music, this is aware and absorbing music, conscious in a broad sense, sometimes circuitous, but mostly questioning and satisfying.

The band are far from fans of modern pop and their twisted take on the genre continues to beguile and enchant in equal measure, but the ideas never overwhelm their fourth album. As a result, their return sees them get back to something like their captivating best.

Overall, this is arguably the most consistent album Flowers has ever been involved with.

Pledge is also somewhat uninspired, as MES sets his sights on crowdsourcing and the band scampers around aimlessly. These moments aside, Sub-Lingual Tablet is this incarnation of The Fall’s most impressive addition to the band’s canon.

The occasional overlong segment of a song (The Battle Of Hampton Roads) and self-pitying tone and vocal that skate a little close to "emo" (No Future Part Three...) are really the only complaints that can be levelled. This very American, sometimes Irish-American sounding album, funny, occasionally scabrous, occasionally angry but most often simply passionate, is one of the smartest and most intelligent punk releases in a while, and one of the most enjoyable too.

Could very well be one of the soundtracks to the summer, with their heavy use of percussion setting them apart from other similar Brooklyn acts. Unfortunately, there are times when Manifest! feels muddled.

For the first six songs, the whole thing is as exhilarating as Is This It?, it's in a different way, undoubtedly, but there's the same giddy rush of excitement.

In general, you want McCartney, the least experimental Beatle (yes, including Ringo), to stick to what he does best. And on New, he mostly obliges, making it one of his better recent efforts.

A couple of flaws prevent O Shudder from surpassing Out Of Touch In The Wild.... But this is still an impressive album by a band who possess intelligence, originality and personality.

We have an album that diversifies Jepsen’s sound in intriguing ways, while sounding a bit rough around the edges at times.

Peter Broderick has clearly been in some dark places since we last heard from him, but here he is back on track--and for that we are abundantly grateful.

By the time the vocal ensemble brings Bank On It to a close, it’s clear that Twice As Tall is a novel but worthwhile fusion of disparate artists and styles.

As the mainstream of club music continues to seek out bigger and more energetic sounds, Logic1000’s relatively mellow approach is intriguing, and Mother certainly shows potential – it just needs some fine-tuning to become the full package.

And Then Life Was Beautiful shimmers in the heat of the summer just gone, and strikes a good balance between exhortation and introspection.

The largest problem with Coexist is something shared with the debut. A lot of it just washes over you without leaving a trace. It's always high quality, assembled with a craftsman's eye for gorgeously unfussy detail, but it can leave you unengaged. It's soporific, far from unpleasantly, but in a way that means you can come out the other side unmoved.

It's good to see Belle and Sebastian back, but let's hope their next album sees a positive progression as opposed to more of the same.

The slower songs do have the effect of balancing the album. Even some of the upbeat tunes, usually The Little Ones' strength, are sometimes in danger of veering from endearing into cloying.