This is another instalment of quietly intriguing music, ornate and intricate, but also organic and alive. It’s good to inhabit her world once again.

Overall, while II is a success, it’s just not quite the great record it should have been.

It’s simply another good collection of melancholic indie-rock – and sometimes, that comfort in familiarity is just what you need.

While Wild Crush is by no means perfect, it does feel like a fresh start for the band and there is a clear sense of direction from start to finish.

Until they're discovered by a big primetime television programme--and that day will surely come--those who know can rest assured that Buffalo is another strong entry in their impressive catalogue.

Reeling is undoubtedly a solid step on a road to a successful career, and one that will find this band honing in on both its desired path as well as strengths that will become clearer as time goes by.

At the end of this quite exhausting album, it is hard to ascertain whether anything has been resolved. However, if this is what Krug needs to move on, then Julia With Blue Jeans On is a testament to the healing power of creativity.

Underneath The Rainbow is more of an assault on the ears than anything else, although that’s mostly in a good way, as the band never lose sight of the style that first brought them success.

When Pearl Jam shocked the world with Ten and Vs, there would have been few that believed the band were capable of an album such as Backspacer--an ostensibly traditional rock album that, at times, feels contented and at others strays close to emotional equity. The shock this time is that they nearly pull it off.

There’s little time to get bored, and there’s a distinct feeling that too much of this would be overkill. But for half an hour, it’s perfect. It may have had a painful journey with hellish events at every turn but Moveys is, for the most part, heavenly.

Generally, there’s a rather cosy feel to Elastic Days--you can imagine the gorgeous stroll of the title track keeping you company through the long winter months, and although some may bemoan the lack of variety on display through the album, it’s hard to deny that it makes for a very pleasant 41 minutes.

Toro Y Moi puts intelligence and inventiveness into a youthful music genre dumbing itself down at an unduly early stage.

Nobody is trying to do anything too contemporary here, and the slight remove these musicians bring to creating contemporary Ross music means we often get a pastiche of her earlier material. It’s effective, but the danger is that it veers tantalisingly close to sounding like an ironic tribute. And so, the album perhaps fares best in its simplest, and most sincerely constructed moments.

There probably won’t be too much on Gravity Stairs to attract any new fans to Crowded House, but after 40 years that’s probably the last thing they’re bothered about. Their heyday in the ’90s may be behind them, but this is a welcome reminder that the Finn family are still going strong.

Although there’s some filler on Endless Summer Vacation – Wildcard and the rather flat closing piano ballad Wonder Woman fall into this category – it probably ends up as her most consistent album to date. This is one former teen idol who’s negotiating the path to a more adult audience just fine.

Over the course of the LP... the toe-tapping comfortably outweighs the head-scratching.

Ultimately, We Were Here is another strong return from Turin Brakes, one that doesn’t stray far from their acoustic niceties, but one that also seeks out a natural progression.

Its calmness in the face of life’s trials is truly inspiring. That something so thoughtful and positive could come from such a turbulent time is someone’s life is astounding, and showcases just what a great songwriter Alain Johannes is.

With some more judicious editing, a good album could have been an outstanding one, but even so, this is still superior, well-crafted noir-pop that maintains Del Rey’s impressive career to date.

Not giving a little more is a problem that hangs over the end of the album, and for some of the more rabid fans of The National it’s something that they’ll consider a problem for the entirety of Return To The Moon. There are some bright and poignant moments here though, but, like the majority of The National’s work, the depths of the album may take a while to become apparent.

Ultimately, this album will draw the attention of McCartney fans and of the artists involved, and will remain a curio for the rest. Yet it’s good to see rock’s ultimate ‘Elder Statesman’ reaching out to a younger generation and trusting them with his material. Not all of McCartney III Imagined works, but when it does it sounds genuinely exciting.

Few bands are able to translate the full spectrum of emotions into song as well as the Welsh outfit and now they have established their independence, hopefully Sick Scenes will represent the beginning of an exciting new chapter in their career.

This isn't an album that's likely to change anything, but nor does it deserve to just pass by unnoticed.

It's that subtle interplay between humour and sadness that makes for meaningful, lasting music, and VanGaalen walks the line with the best of them.

While Love Remains proved a hard listen because of its liberal use of distorted effects, Total Loss is tough going because of the emotional intensity of its content.

Whilst How I Knew Her is lacking a little in inventiveness at times, and some of its oddities will rub up people the wrong way but there are still plenty of great moments scattered throughout to make it worth your attention.

It is much stronger than their previous disappointing album The Weirdness (2007), and at times even recalls their creative heyday in the late ’60s and early ’70s.

The simple fact about Death Grips is they will divide audiences. Some will take to their hardcore pandering. Others will scuttle back to their FM radio stations.