The music may be unspectacular, but it just works.

It just so happens that it is also an album that you pop on repeat and happily dance around like a wide eyed loon to for as long as needed. Self-realisation, invocations and exploration of the psyche are not necessary, but then as the album progresses the need to move (even if it’s just an appreciative nod of the head) is impossible to ignore.

There’s very little here to dislike, so stick it on loud, turn off the lights and sit back and enjoy.

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.

Occasionally, songs like Like A God and the fiery Double Dare do recall the band’s old magic, but those moments are few and far between.

The only issue with Somebody Tried To Sell Me A Bridge is that it’s so long that anyone other than the most devoted Morrison devotee will find it a bit of a slog. At 1 hour 20 minutes and 20 tracks, it could certainly do with some judicious editing.

At 14 songs and over 70 minutes long, it's certainly not for the faint hearted or easily distracted. Yet for those who are willing to put the effort in, some of Amos' most beautiful work will be found within.

Angst is very well in small doses, but over an entire album it can start to grate.

Admittedly, it isn’t a particularly easy listen, but love isn’t always easy, even if it is always worthwhile.

Is Forever Neverland the most mainstream indie album for a while or the most indie mainstream album? With hits like these, songwriting as accomplished as this and production as tight as this, it surely matters little either way.

It's disappointing that even with all this potential that you'd be hard pressed to remember most of the album once it's finished. You'll remember that it sounded good, but you won't remember how it sounded and even several plays fail to bestow "grower" status on this disc.

There are some infectious grooves here and there but they don’t crackle and snap the way they once did.

It’s possible that Oczy Mlody will disappoint those looking for an easy hit, or the sound of old-school Lips, but for those willing to persist and explore, it’s a work of nuance and intelligence.

Mostly No [is] an album with good intentions but one that's flawed in its execution.

This is a solid, enjoyable solo debut that’s certainly worth investigation if you’re a long-term Marr watcher.

It’s a goldmine of catchy power pop, with the odd misstep, but anyone claiming to find little here in the way of feel good factor is likely to be deaf, ignorant or just sitting within their own sound-proof forcefield.

There are times when it feels sporadic and fragmented--with so many different elements crammed in to each track--but ultimately, it is the sound of a band pushing themselves further than they’ve ever gone before.

My Best Friend Is You hasn't got the immediate freshness of Made Of Bricks, and it can make for a disorientating, uneven listen at times. Yet it's never anything other than compelling and demonstrates that, despite what a lot of people thought when she first appeared, that Kate Nash could well be around for a good few years yet.

All in all it’s a decidedly mixed bag, with producer Mark Ronson failing to make the experience even remotely coherent, though during this soundtrack’s highlights even the most committed Nolan fanboy might just get caught up in the hype.

This might not be the album that everyone wanted from Lorde, but it’s a solid, dreamy effort that deserves exploration. There’s plenty here worthy of attention if you can focus for long enough.

I was so looking forward to hearing Monkey: Journey to the West, as I'd totally succumbed to its charm in the theatre, but I'd advise anyone approaching this CD to do so with caution, especially if you've not seen it in its glory in the theatre where it belongs.

Even at its loudest, there's nothing objectionable or earth shattering about To The Sea; but there doesn't really need to be.

Overall, In The Belly Of A Brazen Bull is an impressive fifth album from the trio, one that contains elements of their earlier work, while also demonstrating the Jarmans' intention not to be constrained by one particular sound.

Commercial considerations aside, this is a finely crafted and lovingly realised album that Halstead should be proud of, and which deserves to finds its way into more homes than the usual coterie of 4AD fans.

On hand, as ever, is sister and mother to crank-up the feel good factor, and a more life-affirming live album you'll not find.

Buzz’s riffing and attack give the songs enough personality to sound individual and prevent the album becoming an analogous mess.

S Carey’s work may not have the same iconic impact of Bon Iver but through it he has created an album which rewards repeated visits.

'With Every Heartbeat' is evidence enough that this man has talent. He just needs to use that Rolodex a bit more.