Is Forever Neverland the most mainstream indie album for a while or the most indie mainstream album? With hits like these, songwriting as accomplished as this and production as tight as this, it surely matters little either way.

Pretty, simple songs which nevertheless were absolutely littered with hooks.

As they sing in the closing track Fresh Meat, “the past is catching up again”, and maybe its that sense of time moving so quickly that makes this chaotic, exhilarating and often perplexing album such a compelling listen.

For now, this is a hypnotic, well executed, if not altogether thrilling collection.

Although none of the tracks on Welcome 2 America stand up to Prince at his mid-late ’80s best, there are some songs which come close.

The influence of new blood mixed with Paramore’s own distinct sound has created a vibrant, melodic record with sing-along choruses, and although it flirts with the softer side of the rock spectrum it’s still one ballsy album.

It's hard to know where you stand with it. There are moments where the listener is engulfed in it all, but others when it feels cold and detached.

In their rousing live shows, Benin City are better able to keep up the momentum and present a case for the preservation of London’s club scene, but Last Night is still a fun late-night journey around the boroughs.

Its inviting atmosphere, the beautiful playing and gorgeous harmonies make for an approachable, if not wholly accessible, record.

Working best with eyes closed and a fertile imagination, Feels plays like a dreamscape of interconnected happenings, some coincidental, some intended, that's as dense as it is languid.

Futuristicaly Speaking is by no means a perfect album, at times it seems overlong and in places too similar in tone, but it is a solid album that should see Yo Majesty making quite an impression.

Phase Zero might not be as rough around the edges as its predecessor, but it’s still a strange and unusual beast. It is debt to its influences at times, but also idiosyncratic and mysterious enough to stand on its own two feet.

With five singles sitting and waiting, Aphrodite is the record she needed.

The album works best when they pick up the pace, cranking out two minute gems like My Mind Is Like An Atom Bomb and They Kiss Like Humans, with its genuinely disconcerting backing bellows.

This self-titled final album, as you might well expect, sounds exactly like Megadeth.

Insistency and repetition are perhaps Oozing Wound’s most effective weapons.

Unlike anything else on the album, Clear Spirits stands out, with its submerged melodies, insistent basslines, and cascading guitars. If nothing else it proves that Les Savy Fav can still be vital and are still writing challenging, inventive material.

The tracks are brighter, bolder and more immediate than anything he’s done before and thematically they aim higher also.

Horse Thief will inevitably hit the jackpot, and Fear In Bliss is a mighty step in that direction.

While Slow Summits might not set your pulse racing it’s a fantastic example of a band throwing themselves into making a record as lush and pretty as they possibly can.

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.

Overall, there aren’t enough risks taken on Love Letter For Fire to make it a truly outstanding album; it’s a very pleasant, comfortable journey rather than an especially memorable one.

Though undeniably powerful, Desperate Ground does become a bit monotonous due to the lack of variety of mood and change in pace.

Occasionally you get the impression that she’s trying a bit too hard – Bed Chem attempts to make a filthy pun on the word ‘camaraderie’ that trips up over its own unwieldiness. However, there’s a lot to enjoy, even love, on Short N’ Sweet.

Perhaps it's fair to say that sometimes it all sounds a little too comfortable for, erm, comfort (the line "growing old, it's hard to be an angry young man" is pretty telling).

Featherbrain is another solid album from the unassuming Norwegian, even if it lacks the direction and cohesiveness of her previous offerings.

Whether there’s a concept behind it all or not, he again demonstrates a knack for writing in a variety of styles while sounding uniquely himself.

The soundfield on Tonight There Is Something Special About The Moon/ Jaki Księżyc Dziś Wieczór… is just too cluttered, whilst the tuning-radios-whilst-the-bath-empties vibe of Anti-Antiphon (Absolute Decomposition)/ Anty-Antyfona (Dekonstrukcja Na Całego) veers close to ambient cliché. Still, Regards as a whole is a rewarding, absorbing listen, and is liable to instigate an outbreak of searches for Schaeffer originals in obscure corners of the ‘net over the coming weeks.