Coupled with mostly low-key guest appearances, The Pool isn’t an album that jumps out at you. It’s an easygoing record that has a sophisticated yet soulful centre, and that’s where its appeal lies.

Poster Girl, although far from perfect, is an encouraging sign from Larsson, indicating her adventurous spirit and perhaps paving the way for future triumphs.

18 Months neatly packs Calvin's hits from the last year and a half into a solid playlist.

Jose Gonzalez may not be doing anything any differently, but he's also not doing very much wrong.

The overall vibe of Dear... is a strangely baroque take on loss and self pity.

Despite the groovy intentions and the unmissable smell of too many cooks in the kitchen, their album often proves to be pretty damn tasty, indeed.

While unlikely to change anyone’s life, The Head And The Heart have produced a record that’s richly enjoyable and well performed throughout, establishing themselves as a worthy addition to their home town’s roll of honour.

It’s perfectly easy to listen to Porches on a superficial level and find beautiful hooks to hang on to, but the real joy of this album is to dip beneath the surface, and see what’s going on underneath.

For all its innovativity and dogged determinism, the album's latter moments just can't compete with the top heavy appeal of its opening tracks.

Although not earth shattering, it's all of a high standard with no real nadirs.

While a few of the songs could do with a harder edge, that’s not Salvat’s style. What he has delivered is a record that is heartfelt and tender, direct and emotionally challenging, while still sporting enough tricks and flourishes to fill the dancefloor with bangers to spare.

Warm, melodic and acutely observed, Cradle To The Grave is a convincing return from two of our very finest songwriters.

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.

While many of those who fell in love with The Virgins the first time around may be put off by the absence of addictive indie-disco hits, Strike Gently is a quite remarkable, and effortlessly crafted, reinvention.

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.

Expansive and unified in its character, Future Times is a considered album, actively concerned with the spontaneous expansion of boundaries, be they geographical or psychological.

This might be a ride through familiar territory but The Proclaimers specialise in steadfast song writing and this is sure to satisfy their legions of fans.

Thankfully though, less worthy moments are heavily outnumbered by their more interesting peers and, for a first full collection, Bedroom is a resounding success. bdrmm have chosen a well-worn path, but there’s a freshness here nevertheless.

A lean, 40-minute LP that’s big on melody and small on post-production .

The concept pays some dividends, with production that frequently finds a pleasant hybrid between gospel and contemporary production and subject matter that surprisingly doesn’t outstay its welcome. The big problem is Kanye’s lyrics, which have lost a lot of the charm they had in the early years without improving in technique, and at various points the tracks have a big hole where a genuinely powerful verse should be. Nonetheless, Jesus Is King is certainly an improvement on Ye, and a purposeful if novel release.

A sweet, cheery and summery collection of folk tunes that sometimes verges on a more commercial surfy sound akin to Jack Johnson while still remaining on the right side of lovely.

Overall, Feel Feelings represents the complexity of the human experience in that it’s not perfect, however the work put into this album is undeniable. It can be hoped that for her next album Soko continues to, indeed, feel her feelings through her music for us to enjoy.

Whilst there are a few darker moments (particularly towards the midsection) there’s are also a number of delicate and beautiful moments too.

Tales Of A Grass Widow won’t alter opinions; if anything it’ll cement them. But for those who enjoy CocoRosie, album number five is every bit as intriguing and fulfilling as they’d hope.

Whilst it hardly breaks new ground, either generally or for Barlow as an artist, Brace The Wave offers further evidence of Barlow’s core talents.

It's Robbie The Rogue's least immediate album and needs several listens to get to grips with, but Intensive Care feels like Robbie has allowed himself freedom of expression, even if he doesn't always know how best to use it.

Whilst it’s unlikely to have surpassed a compilation that would have boasted the likes of I Wanna Get Lost With You, Indian Summer, Graffiti On The Train and Mr And Mrs Smith to name but a few, Oochya! is undoubtedly one of Stereophonics’ better albums in recent times even if, at 15 tracks, it’s a little too long.

The demanding nature of One--a persisting, unrelenting jolt of energy--gets tiring after a while, but there’s no doubt that the highs are incredibly high.