In the end, then, it's as if Austra are old hands; Feel It Break could be them overcoming difficult second album syndrome with aplomb. Goodness only knows where they can go from here; such peaks represented the end of the road for The Organ.

The debut is by no means a hit-packed record, pop is firmly on the backburner here and thrillingly it's precisely this lack of obvious choruses and instead the bizarre little instrumental interludes, spooky stripped down ballads which build and build and attacking grooves that will have you coming back time and time again to it.

After You may plough a relatively safe furrow in its construction and execution, but he is a very relatable singer, and the keenly felt blue-eyed soul on here should win him new converts.

Hawk represents the finest moment of the Campbell and Lanegan collaborations thus far.

It’s a record that, the longer you live with it, the more its little subtleties make themselves clear. It builds on the strengths of Collapsed In Sunbeams and ends up creating an even more rounded album.

There's absolutely nothing indecisive (or indeed shit) about this album. It's swaggering, full-throttle, full-throated genius.

This is a solid record from a talented producer who is well worth keeping an eye on.

There is a notable step forward, turning more towards a traditional soul style at the album’s core. There is a more natural groove, and the piano steps in more to complement the voice, even if this does sometimes lead to congestion on the instrumental side.

The chants, pipes and Afrobeat guitars might be facades, just like the masks and robes, but it doesn’t matter because the music underneath has real heart and soul.

Lilys have made a quite marvellous record.

The result is sublime, lost somewhere between a 3.00am Ibiza beach party, the Royal Festival Hall and the best soundtracked bedroom in the whole damn world.

The more ‘ambient’ tracks (entitled Hent I-VIII) are scattered throughout the album and simply consist of Tiersen tinkling around on his piano over the sound of birds chirping away. ... Yet this can’t distract from the beauty of the main piano tracks on Eusa.

As comebacks go, Dodge And Burn is a solid effort and possibly The Dead Weather’s most cohesive record to date. It’s just a shame that the band leave it so late in the day to delve into their box of tricks.

This is a characteristically strong, uncharacteristically sloppy (in a good way!), album by one of the few remaining shining lights of rock music. Greatness is almost a given at this stage.

This is music at something like its most natural, made by a collaboration who might not even have met but who have struck up a clear understanding despite the distance between them. More, please.

Femejism does stand up as an album, with Deap Vally’s strident attitude holding the songs together, but the quality of the material is a little patchy.

Submarine is the sound of the real Turner emerging to the surface, and it offers a depth charge to the age of the lazy movie soundtrack.

This is a fun record. Sometimes that really is enough.

Greenwood has recorded an eerie yet stunning score, and if Anderson's production is just as aspiring then filmgoers are in for a real treat for the senses.

Greys need be a little more subtle in their own palette. It’s a great noise, just not yet a great sound.

Odin’s Raven Magic captures the group reconciling their actual genius with the mountains of praise heaped upon them.

Too often on The Darker The Shadow The Brighter The Light you find yourself reaching for the earlier albums to listen to instead. While Skinner’s hardcore fans will be pleased to see him back, much of the time this feels a lot like The Streets on autopilot.

The vibe is overwhelmingly positive, not to mention a bit woozy - ideal to take the edge off a hard day and turn it into a good evening.

Their approach avoids downright imitation of their source material, and they somehow capture a broad swathe of popular music in their own style.

At 50 minutes it sometimes feels like some editing could have been applied a bit more judiciously. Yet that’s a minor criticism, as there are enough high points here to build on the success of AAARTH.

Whilst retaining the heartfelt beauty of his debut album, it is the subjects tackled on Love And Other Planets and the experimentation with which this is done that really shows Adem is reaching for the stars.

This is a brisk, bright and joyful album from a band who have been anything but those things in recent years. It’s recommendable for those attributes alone, but even more so when you start to get the feeling that this could herald a return to form.

Another reassuringly exceptional album.