Whilst there are occasional high points, it’s best to cherry-pick the highlights from Didn’t It Rain and leave the rest.

What it fundamentally lacks is the underlying rhythmic sensibility that adds an extra dimension to Fuck Buttons and gives them the scope to develop a track from simple beginnings to a euphoric, cacophonous conclusion. By stripping this ingredient away, Power is left with something that's often beautiful but also strangely static.

This is then a collision of musical styles that is totally appropriate and which reflects well on both parties.

If not all of this debut lands too firmly at times, there’s still enough evidence on Sorry I’m Late that people will soon remember Mae Muller for more than that Eurovision disappointment.

Compelling to some, maddening to others, it should be said that at least Gray's voice is tuneful.

The Pains are unquestionably good at what they do. It's just that the dreamy Scandopop thing is rife, and this band don't really bring anything new to the table.

Frozen By Sight is a good record--one that’s exquisitely played and recorded. It’s also a little stiff: occasionally its arts festival origins become a little too obvious and one wishes it would cut loose a little more.

[They] have returned sounding pretty much exactly the same as they did three and a half years ago.

Ultimately, Creation does not add anything drastically different to The Pierces’ back catalogue. At its best, the pair’s fifth LP familiarises us once again with their pitch-perfect harmonies and tightly constructed, polished melodies.

Tracker may not quite reach the same heights as its predecessor--it features one too many misses for that to be the case--but it is another solid solo entry into his already impressive back catalogue and a record that Knopfler’s faithful following will undoubtedly delight in it.

Kassidy have proved they're as serious about recording as they are performing and if their debut album is any indication, they're in it for the long haul.

There are some interesting topics explored, such as Darkest Place's prayer to a God that he now longer believes in, but compared to Plan B's gritty early raps about teenage life, it pales somewhat in comparison.

Aided by conductor and arranger John Wilson, who coaxes a first-rate performance from the London Classical Orchestra, Ocean's Kingdom is an accomplished if unremarkable foray into an unfamiliar medium by the ex-Fab Four polymath.

It's a mature progression for a talented band who, having started out at the tender age of just 15, now seem much clearer on which direction they want to take.

While it seems silly to complain about the lack of a singer on an instrumental album, she did lend many of the songs an emotional weight which, while not lacking here, doesn’t quite have the same impact.

It's a roots record alright, with a few crumbs of hope amidst the looming sense of armageddon.

Delicacies lacks the pop craftsmanship and euphoric electro of Attack and the singular outstanding tracks of Temporary Pleasures, never attempting to introduce vocals to supplement their evident ability to create an intriguing techno dance track.

Mercy may have a few forgettable tracks, but an artist with John Cale’s long and varied history will always find a way to intrigue the listener.

Coup De Grace has plenty to offer, but it’s not a big step forward from Kane’s previous solo work. If you liked that you’ll probably like this; if you didn’t, this probably won’t change your mind.

The Magic Numbers’ latest LP may not be perfect, but it is a big step in the right direction.

If a devil-may-care attitude is the album’s strength, it also can be a weakness. Songs hit or miss by chance, the product of unmoderated experimentation which can so easily become indulgence.

For those late to the party, the album offers an opportunity to catch up and at least not miss out on a fine batch of Beck songs which might have otherwise evaded the mainstream. For those with more time and the urge to explore, though, just get yourself down to songreader.net where the real spirit of the project still awaits you.

Like its companion album, it’s wildly inconsistent but when Prince hits form, it’s difficult to argue with the man’s genius.

As it is, Mountain Echo is a debut that is unlikely to offend, but it's unlikely to provoke repeated listens.

It would enjoyably help to while away an hour's driving, but those seeking a little more punch will have to look elsewhere.

This isn't really an album to analyse in any great depth, more to nod to endlessly, ideally with a drink in hand and a clutch of friends arrayed around, in staunch defiance of our grey-skied British reality.

The album really comes into its own when soft and subtle songs.

The only issue is that, over the course of a 45 minute album, Masics’ style can drag a bit. When his songs lose Barlow’s influence, they can tend to lose a bit of energy, and as What Do We Do Now reaches its conclusion, you may be a bit weary of mid-paced plodders like Old Friends and Hangin’ Out. They’re not bad songs as such, there’s just not too much to distinguish them as more than filler.