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.