Ultimately, the sense of pastiche, and the fact that it’s a bit one-note (even at just 31 minutes running time) counts against What’s Wrong With New York?

Archives will not compensate for the lack of new Department Of Eagles material. Indeed, it appears that the project will be on a long hiatus whilst Rossen is preoccupied by Grizzly Bear. Yet it does have merit as a fascinating document of a band veering out of its comfort zone, starting to make what had previously been the music of their dreams.

Enough of Valhalla Dancehall's moments work surprisingly well, that despite its breadth and occasionally aggravating density, it becomes a spectacle worth experiencing.

Harvey’s talent on Four is to mix impressive arrangements with obtuse lyrics yet still add something to the debate on a well worn topic.

By the end of Sparks, there is really nothing else left to do but marvel at the brilliance of Imogen Heap.

Chinese Fountain really is everything that you would expect from these beach grungers, but it’s still fantastically unique and sparkles delightfully with fun and a sheer honesty.

The third instalment in his Actual Life series continues the concept of an artistic journal, but fails to convey the intended poignancy.

Although she’s been around for over a decade, Whole World As Vigil can serve as an introduction to one of the most exciting voices in contemporary experimental pop music.

The key to enjoying this album lies, ironically, in forgetting that the Pumpkins ever existed. Remove the past and the baggage, and take it for what it is; a pretty decent rock album.

Crying Out Loud offers plenty of confirmation that Kasabian are in rude musical health.

This is a dreamy, sometimes queasy synth pop record with a good amount of bite beneath the wash of keyboard calm.

As it is, Modern Blues is probably one for the fans only.

Generally though, World Wide Pop is full of inventive, bold pop music – sometimes sugary sweet like the acoustic led Crushed.zip, and sometimes big and anthemic such as the CHAI and Pi Ja Ma collaboration Teenager. And, as ever with Superorganism, it’s never, ever boring.

Although there are times when they misfire, this is a startling first effort from the band.

Here Ride aren’t just treading water so much as striking out for the horizon.

However, this album feels like it marks the beginning of a return of form, and it's great to hear his voice again on tunes that don't make you work to the point of sufferance to get any enjoyment out of.

[Cellist Alexandra Lawn's] expressive and engaging vocal contribution on You And I Know--along with its woozy, waltzy rhythms and shoegazey guitars--make this the only truly memorable song to be found on this otherwise disappointingly, frustratingly ephemeral collection.

They've succeeded in making an album that does well to second-guess its listener, whilst never disowning the sound that first brought Greene to the foreground. "Chillwave" might be dead and buried, but Washed Out has only just set foot in the water.

In contrast to their previous record, on which they felt the need to dress up as some sort of 'shadow band' straight out of Disneyland for the sake of getting a message that got lost amongst the bombast and OTT nature of their sound, this is a refreshing change.

It gets on with the job in hand, never short changing the listener, and in the process providing a valuable insight into one of pop music’s great creative minds in the process.

There’s no doubting that The Ridge is a good album, but sometimes the supporting players don’t quite compliment Neufeld’s compositions as well as they might.

The band are far from fans of modern pop and their twisted take on the genre continues to beguile and enchant in equal measure, but the ideas never overwhelm their fourth album. As a result, their return sees them get back to something like their captivating best.

It’s been well worth the wait. It’ll probably a while yet before his main band are back in action, so in the meantime, Earth should fill that gap.

While Roots & Echoes has some ace moments, it steps back from the brink of insanity in a way they've never done before.

Could very well be one of the soundtracks to the summer, with their heavy use of percussion setting them apart from other similar Brooklyn acts. Unfortunately, there are times when Manifest! feels muddled.

Labyrinthes is a jubilant album of experimental indie pop that hold ups to the scrutiny of constant plays. You may not have an idea of what's being sung, but it's a great album which easily transcends the language barrier.

All in all, this is an odd, but certainly not unlikeable, package of songs.

We already knew he was a talented composer and producer, but Wolf suggests he now may just be the finished article.