At 55 minutes, it’s arguably too long, and some of the less memorable tracks could probably be filed away without taking too much away from the album. Yet only dEUS could end an album with Le Blues Polaire, a six minute song sung entirely in French that switches from dirty, grimy guitar rock to hypnotic drone several times.

Here, they manage to do their maturing without losing the sheer likability which saved the debut from completely drowning in a sea of ideas.

A little joy goes a long way--a long way towards one of the more carefree albums you'll enjoy this autumn.

Overall then, Chunk Of Change is several steps short of greatness, but the debut full-length (due later this year) should be worth a listen.

The commitment to developing their sound into urgent and strident rock is commendable yet the execution leaves you cold at times.

Alanis Morissette has long been a rarity among her peers, more than willing to address significant, yet unsettling subject matter. Such Pretty Forks In The Road is a case in point, with inspiring lyrical touches and affecting vocal sincerity placing it among her best albums.

Maps & Atlases have produced an album with some real bite. It's a collection of tracks that needs proper digestion in order to pick through the intricate layering and amalgam of styles that mix the band's longstanding math influences with a clear inclination towards African rhythms.

The Mysterines are clearly one of the best bands we have to offer here in the UK, and they make a great point of proving themselves time and again across this wonderful, strange album. .... Superb.

While Bass Drum Of Death is stripped back and wins many points for commitment to a certain aesthetic, it’s also a largely successful album in terms of tunes.

Even when it doesn’t quite hit the mark, they still sound like no other band out there. They remain a curiously compelling act to listen to, who play by thier own rules – chaos remains their lifeblood, for good and for bad.

Feel The Sound provides, when they’re on form, a reminder of how reliable they can be at creating crowd-pleasing indie pop.

The music has a thoughtful, reflective quality in spite of its brevity. Popp claims he is not an "anti-musician", and given the lush, enveloping atmosphere of much of O, his claim seems fair. He is, however, very much anti-convention.

While this new album lacks the immediate warmth of its predecessor there's much pleasure to be had wallowing in its rich patterns.

>> is the humble, unpretentious sound of an artist pursuing a very personal and refreshingly unspectacular vision.

There's little familiarity, too little to relate to on Certified.

Playtime Is Over is miles forward from the Wiley of 'Wot U Call It' and 'Who Ate All the Pies' but it sits uneasily behind Sway's One For the Journey and Kano's The Mixtape projects

Autechre albums have been famously challenging in the past, but Quaristice is an easier way in, and impresses with its structure, its continued innovation in texture and in the way every sound remains vital, even in the course of a seventy minute album.

It’s a lot of fun, for band and listener both (not always the easiest of tricks)--a ‘concept-less concept album’ shot through with just enough self-aware humour,

Forget The Night Ahead is the reassertion of The Twilight Sad's brutal art. But reassertion can so easily slide into repetition, as is occasionally the case here.

It's a subtle collection of tracks that is surprisingly both intimate and ambitious at the same time.

It’s an album full of quiet confidence, and of an artist having the courage to move out of her comfort zone. It may not prove to be Hannah Jadagu’s big commercial breakthrough just yet, but by the sound of much of Describe, that can’t be too far away.

The lasting sense left is of an unexplored potential which, if this is it for The Civil Wars, could be in its own messy way an appropriate swansong.

What the two have come up with next is a new member and a sort of hillbilly Pixies for children, or perhaps a grunge starter kit for Polyphonic Spree fans.

The blues boogie tunes aren’t quite up to par, but it’s still a goody bag filled with enough treats to please fans.

Wrong Creatures succeeds far more often than it fails. It’s epic, full of attitude and done with a whole heap of style.

This collection shows the old tricks have served them brilliantly so far, and The Brighter The Light works as it says it will, leaving us with a lasting high.

In short this is a album that you put on for instant and disposable thrills.

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.