As it stands, Golden Suits is a lovely record, but one that could benefit from loosening up a little.

It is not quite playful enough or quite inventive enough to truly excel, but it is a largely fine effort from a man who anyone with an interest in UK electronic music would surely find to be well worth investigating.

A more brisk runtime and shorter tracks – as on 1981’s Lustwandel, for example – could have elevated the record to greatness, but as it is Wahre Liebe is a diverting collection that showcases Roedelius’ sonic prowess well.

With so many talented people involved, Humanz was always going to have its moments, and it is undoubtedly an engaging, intriguing and bold record. Yet when compared to Demon Days or Plastic Beach, one cannot help but feel just a little underwhelmed by the songs here.

This is a startling new direction, and while not entirely successful, it confirms Cornell as a vocalist of versatility and strength.

For those who have enjoyed Grubbs’ wide-ranging career and don’t mind taking a 45-minute detour into the mind of a clearly talented guitarist and singer (complete with painful violin), The Plain Where The Palace Stood is good enough to demonstrate how great Grubbs can be when he hits the mark.

On the title track, Steve asks, "Don't you got nothin' better to do than listen to a man from another time?" The album presents itself as a fitting answer to that question, and an appeal to anyone wanting to look into the distant delta past.

Sometimes the music is too comfortable for such strife, but there is more than enough here to satisfy. The voice still sounds great, too.

As uneven as Hey Clockface can become, there are still enough reminders of Costello’s genius scattered across the album. After all these years, his aim is still mostly true.

Compared to Big Conspiracy 3 years prior, Beautiful And Brutal Yard displays more ambition and an admirable desire to experiment, resulting in both career-defining moments and unfortunate missteps.

In general there is less percussion than previous Austra albums, which heighten the intimacy in songs like How Did You Know. The exception is the clattering set of drum fills towards the end of It’s Amazing, which disappears in a swirl of harp-like ripples. Yet HiRURiN, as with previous Austra albums, is all about the voice.

While the album's opening single, Sentimental Dishes, is far from the endgame--its jauntiness an awkward fit for the album's wider angst--there's a recognition in its pace, and the broadening ambition of the sound, that PS I Love You may be ready for more.

Yet, despite these slight missteps [Fear Machine and Delusion Pandemic], VII is a fine addition to what is already a solid musical canon.

Many of these songs are a delight to listen to; most could easily be a single.

It’s well crafted and well paced, and features more than enough discordantly catchy riffs (at least two corkers in Beat alone) to sustain the listener’s interest. But for all that, it’s an album dusted only lightly with genuine greatness.

American Stories certainly sees Rostam coming out of his comfort zone and the safety of the studio to produce a work that is both personal and political. If it sometimes feels a bit too light, there’s no denying the craftsmanship on display.

This album is a pleasing, mature release, though a little more freakout wouldn’t have gone amiss.

The movement towards synth pop is arguably a risky one, especially considering how congested that particular market is already. Yet, Cymbals show enough promise on The Age Of Fracture to suggest that they are in it for the long haul.

'Em Are I is an abandoned puppy of an album that you can't help but take to heart.

The BQE is a lushly extravagant score that merges quite easily into Sufjan's grand catalogue. All who lend an ear to his opus will look upon the titular thoroughfare with a kinder eye, even if that view does not have the benefit of reminiscence.

As ever with Robbie Williams, there are moments of pop brilliance, and moments where it all falls a bit flat. But, as his first ‘proper’ album in almost a decade, it’s a pretty good re-introduction to one of pop music’s more creative individuals.

There are still more than enough highlights on Hotspot to make the record worthwhile, and when they put their mind to it Tennant and Lowe’s wordsmithery is still as sharp as ever.

Although occasionally lacking focus (unsurprising, since large chunks were apparently improvised) it is a quietly mesmerising piece of work that breathes new life into Yorkston’s career.

There are moments of brilliance and experimentation, but these are too often outweighed by pedestrian tunes and indistinct vocals.

Despite its unprepossessing title, Not Music is put together as meticulously as any Stereolab album released during the band's 18 years of service.

Pritchard is a revelation, and someone of real songwriting talent, not just a mere lucky soul who got picked up on the streets by Presley and told that she had the looks and just needed to supply the talent. This is a pop star who knows her roots and knows where they may take her.

Some will find A Letter Home something of a gimmick and it’s hard to see it being anything other than a peripheral addition to his substantial catalogue.

It adds up to one of his most vital offerings since those heady days of old.