Cabic and Monaghan deliver an album of relaxed, low-definition loveliness, and it's hard to begrudge them that.

There's no doubting that sounds are placed together, weaved and treated expertly and Small Craft On A Milk Sea can, save its more aggressive moments, flow over and around you therapeutically.

There are moments of brilliance, but it's bogged down by the kind of watery filler an older, more mature artist would have largely filtered out.

As Born Under Saturn reaches its final third, the level of consistency remains high, with tracks such as the expansive High Moon and the almost nonchalant Beginning To Fade both worth a mention.

You'd be well advised to beg, borrow or download a handful of tracks from The Resistance; but if you're planning to sit through the whole ponderous enterprise, you'll likely need a blister pack of paracetamol and a hell of a lot of patience.

The ingredients, and the musical personalities, combine to make a very intriguing and invigorating listen.

These Four Walls is rousing, pop-like in its immediacy and pretty damn enjoyable.

All of this makes Metallic Spheres warm and fluffy, nowhere near as cold as its name suggests, but ultimately it's worth little more than a warm smile, bringing together the favourite comedown musician of the late '80s/early '90s with the stoners' favourite of the decade before, but not really doing anything with the opportunity.

Despite the immediacy and urgency of its public genesis, Tomorrow’s Modern Boxes is probably the least immediate album Yorke has been involved with to date. Like Kid A before it, it may turn out to be one of his most enduring.

Reservoir is a neat, considered, and polished piece of work that is unrelenting in its charm.

The Jezabels take you through a range, giving you a story rather than simply one snapshot.

Her ability to micromanage is clearly great. It’s not the most unique take on folk, but it is rife with charm; her intimate, sympathetic sounds soothe the most restless minds.

It’s another enjoyable album from a band quietly proving to be one of the more consistent groups around.

All but a handful of the tracks on Disc-Overy are quite ruined by this appalling Black Eyed Peas gloss.

Lust Lust Lust is a record that explains why sometimes guitars need to be turned up to their max and faced into amps, and why humans need to get down and dirty.

Picture You succeeds in combining influences from a variety of genres to make an end result that’s lush and timeless.

False Idols confidently returns to a simpler, yet contemporary version of Tricky’s working formula.

It goes beyond technically supreme homages into the realms of risk-taking and unpredictability. The vibe is nevertheless still every bit as cool, relaxed and controlled as might be expected from Elling. Not everything pays off, but Elling is branching out in courageous style.

Lights is at times let down by this lack of variation.

Vek finishes the album by challenging whoever will listen. It’s a challenge worth taking on.

Heyoon is an often confusing collection that depicts a mad mind, but one that at times offers enough intrigue to warrant attention.

It’s smoothly produced by veteran producer Tony Hoffer, and each track has a radio-friendly sheen to it and a catchy chorus. Which is all very nice, but it’s disappointing news for those of us who prefer Tunstall at her more experimental.

Whilst there are a host of influences and references at work, Astor’s delivery and way with a lyric mean that he’s bending those influences to his will.

If Night Work set out to remind listeners what they loved about Scissor Sisters in the first place, it succeeds. If it had a couple more absolute killer songs then it would be an unqualified triumph but, as it stands, Night Work will do more than nicely.

It is a testament to Eminem’s enduring talent that the album never feels laboured or even slightly dated. Instead, it is a perfect reflection of the world of Marshall Mathers in 2013.

It may be lacking in genuine standout moments--the infectious choruses from tracks like Come Save Me, Man I Need and Uncertainty are noticeably absent--but as an overall listening experience, it is a fascinating journey.

Slight dips aside, Imitations could never be described as pale.

The potential is clearly there; The Naked And Famous just need to trim away some of the fat.

All of this is packaged up in black and white watercolours commissioned for the album and lyrics booklet from Antony Gormley. The music is just as beautiful.

There are plenty of great moments, but at times, it is almost too experimental.

The Academy Award is a rather too languid ballad that seems to slow down the flow of the album, and closing track Slow Don’t Kill Me Now makes for a weirdly unremarkable and flat end to the record. Overall though, it’s a joy to hear the band sound inspired again, and it’s good to see that, after all these years, Franz Ferdinand are still a force to be reckoned with.

It is a surprisingly refreshing listen.

Forever is a decent offering from a young band still developing their music and songwriting capabilities.

It’s light, supple and tender, full of balladry and spacey (almost psychedelic) arrangements that seek to soothe and soften your mood rather than make you want to breathe fire (as their early work was wont to do). Unfortunately, it also challenges Indie Cindy for the unfortunate title of ‘most inconsistent Pixies album’ – it is, however, better than that record.

Whilst it's unlikely to win over many new fans, it will certainly keep those who have been with the band so far content.

Womb contains a world that is by nature red in tooth and claw, and Purity Ring have found a way to marvel at every single aspect of the experience.

Ultimately, Era is a difficult album to get a handle on. Much like Wire’s 1979 masterpiece, it really, properly throws you the first few times, but the haunting oddness of the tracks means they gradually burrow their way under your skin.

This is a bold, honest and carefree collection that, rather than announcing Kozelek's frustrated retirement, seems set to point to new and exciting musical adventures.

If there’s a critique to be made, it’s that All Worlds sometimes feels like a victory for a race that very few people ever saw. But maybe that’s the point, and the lads just did it for themselves? Like the Golden Record, it’s less about delivering a neatly packaged message and more about sending something out there.

It may not receive the attention its predecessors did, from me at least, but it's an impressive return to form; that in and of itself is worthwhile.

Supermigration may lack some of the euphoric moments of their debut album but these have been supplanted by a more rewarding, substantial set of attributes.

If the career plan was to go to the lowest of lows before releasing an album of resurrection and real substance, he ought to be applauded for conducting the whole stunt to perfection.

Positions is a perfectly fine light pop/RnB album by the numbers, but Grande’s relentless work ethic over the last few years means that the shine on her songs is starting to dull a bit.

In sum, there’s enough varied, interesting and accessible material here to make Butler’s sonic manifesto worth paying attention to.

It's enjoyable, fast-paced and delivered with an undeniable amount of skill. But it isn't memorable enough.

Flock is a massive step forward musically. Paul Noonan's superb lyrics now have some powerful musical backing, throwing in all kinds of references from disco to funk and good old-fashioned rock.

The end result is highly accomplished, viscerally honest and at times hypnotically beautiful, even if it ultimately doesn’t quite live up to its creator’s ambition.

Ripe is yet another strong offering from the UK’s most collaborative and consistent regional music scenes.

It’s an altogether bolder and more varied effort than This Is PiL--making this probably the best set to bear the band’s name since 1985’s Album.

If there's a bundle of stereotypes preceding any singer-songwriter of Scandinavian extraction, it surely includes the following: glacial beauty, whispery vocals, tenderly picked guitars and perhaps a touch of glockenspiel or synth. Silje Nes's second album Opticks delivers all of the above, but that doesn't diminish its thoughtful loveliness.

Roberts and Morrison have crafted an elegant and vivid love letter to the music and culture of Lewis, and certainly brings to life the storytellings and traditions of this remote outpost.

It's never devoid of expression of interest, and has a colour and charm you'll struggle to find on the airwaves these days. Most of all, it's fun. Pure and simple.

This album is a true and cathartic celebration of music and features some of the most treasured artists and the most hopeful future prospects. It’s all here and its glorious.

There is nothing groundbreaking among these 12 new tracks and it never reaches the heights of American Idiot--which remains the trio’s high-water mark--but there is much to be admired in the simplicity of Green Day’s return.

When you think of Islam's best music, you think of his talent for direct communication, often with just a guitar to help him out--and those are the moments where Roadsinger comes alive.

These are songs to fall in love to, to grow along with, and to share with friends in need of a life-change.

It is to Costas and Burton's credit that they have fashioned such an enchanting album from such an unpromising premise.

Augustines has always been capable of creating rousing songs, but this is an album full of them, and it never once feels too much or overstated.

On Blood she largely succeeds in harnessing her instrument to reveal the thoughts within. Big isn’t always better, but it tends towards triumph here.

V is laced more richly with sunshine: it’s the mellowest and brightest album Wooden Shjips have released to date.

But what comes through now is the strength of the songwriting, and his willingness to try out new things.

There are definite up moments in Dear John, but the odd mix of Svanängen's meandering melodies and melancholic vocals mixed with the bizarre samples and synths makes for a concoction that will either be adored or thrown out of a window in disgust.

It’s a rich, rewarding record, which should see Laura Burhenn and The Mynabirds progress to the next level of established American songwriters.

This is a quietly ambitious and exciting installment in the history of a band who may be happy (or possibly even destined) to remain under the radar but deserve something far, far greater.

The darkness is more fully embraced on Easy Window, which smoulders elegantly and possesses a distinct undertow full of sorrow and a sense of detachment. When it’s done this well, it’s hard not to get swept up in it, but there are moments when it doesn’t quite come off.

Cobra Juicy is an album that needs time to reveal itself. Like the band itself, it is a mysterious work that is difficult to get to the heart of, but with a little effort it is a rewarding experience.

TRST is a hell of a debut. It's also a reminder that as ubiquitous as they may become, there's plenty of life in the old synth yet.

Whether you're a long-standing fan or new to Butcher Boy, Helping Hands is well worth the investment; it leaves you warm long after it's over, and their shifting moods and sounds means there's something new to discover on each listen.

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.

It’s a difficult one to love; most of these songs will drift out of your brain almost as soon as they enter.

A long delayed follow up, it has emerged in its own time as a gentle triumph.

Each presents a very traditional, very organically energetic arrangement of a folk standard performed by undeniably contemporary musicians--emphasizing just how current many of these songs have come to sound.

As ever with Miley Cyrus, there’s a lot going on with Something Beautiful, and sometimes it doesn’t quite work. Yet it’s definitely another pleasingly unpredictable swing from one of our more intriguing and exciting pop stars.

Since Gelb started working mainly as a solo artist, these collaborations have arguably been his strongest, most convincing works. His collaborators have provided challenging but appropriate accompaniments for his florid musings.

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.

The music here definitely works best when this spirit of interaction is at the forefront, with potentially disparate musical ideas serving to complement and enhance each other.

Despite wavering towards the second half, there is no doubt that this is Weezer’s best album in years.

Both Lights [is] both a complex and fascinating listen in equal measure.

[A] rich (at times too rich) ambitious record that hints at gimlet-eyed determination rather than wispy pushover.

There are rewards to be had for perseverance but, just like before, we’re left wishing they’d loosen up a bit.

This is a record with so much swagger, poise and confidence it could have been recorded by a band twice their age.

The numbers which populate Costello Music are a darn sight better than Carl Barat and Pete Doherty's solo exploits.

It's not a perfect album by any means; some of the more cutesy numbers can border on the twee, and at 44 minutes it's far too long for a collection of songs that essentially sound very similar. But it is an extremely promising debut, and a warm, breezy and openly-referential antidote to the hordes of cacophonic pretenders taking themselves far too seriously.

It's another step nearer the masterpiece this band are increasingly capable of delivering.

This is a real cracker of an album.

Her debut with The Pond is a commendably excellent example of an established artist making a real step forward.

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.

Reservations regarding vocals and mannered performances aside, this is an impressive second outing that cements Ulrika Spacek’s position as one of Britain’s most intriguing, painterly guitar bands.

Memory Streams is both recognisable as a piece of work from the authors of their first four albums, but manages not to sound exactly like any of them. Instead it confirms them as increasingly assured musicians, carrying forward their first principles and playing like their lives depend on it.

It is most satisfying, then, to report a welcome return to form for Rival Consoles, delivering a strong album that only gets better as repeated plays unlock its twists, turns and multi-level vistas.

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.

Gold Panda has come up with another fine album with some standout moments, but overall Half Of Where You Live doesn’t quite have the coherence or impact of its predecessor.

What it fundamentally lacks is the underlying rhythmic sensibility that adds an extra dimension to Fuck Buttons and gives them the scope to develop a track from simple beginnings to a euphoric, cacophonous conclusion. By stripping this ingredient away, Power is left with something that's often beautiful but also strangely static.

The streaming era may have killed mixtape culture, but it’s best to come into Magic 2 expecting a more casual affair – Nas is mostly just flexing, surveying his legacy while adding to it.

Shiver may be a step out of Jónsi’s comfort zone, but it’s a step that seems to have reinvigorated him.

There's a darker lyrical side to the album at once incongruous and ingenius when placed in such celebratory music.

An album full of off-kilter, strange pop songs, the sort that Phoenix do so well. It may have been four years in the making, but it’s certainly been well worth waiting for.

One of the year's early musical highlights.