Milagres have on their hands an album that ultimately forsakes its momentum for a lack of ideas; the highs are certainly high, yet the lows eventually take over the asylum.

An album that leaves few ripples on its smooth surface.

For anyone wanting something new, exciting, raw, intoxicating... then this isn’t for you. If, however, you know what you like, don’t like taking risks, want an easy life when it comes to spending money on music and are already a fan then you’re going to be satisfied with an album that probably ranks dead centre amongst their full catalogue.

The rest of the album plods along nicely, Healy's lullaby vocals soothing their way through single Buttercups and sure-to-be follow-up single Anything, which will sit quite happily alongside the likes of Driftwood and Sing.

With Transfixiation now becoming the band’s fourth album, the formula of overwhelming noise was becoming perhaps a little too familiar. There are still elements of their early guise present, but the need for change is clearly reducing the decibel levels.

While Mordechai falls just short of providing that ‘sit up and take notice’ moment many of us have been waiting for, there’s certainly a lot to admire about Khruangbin – not least their formidable crate-digging skills.

No half measures or quarters are given, and as a tribute to Pierre Henry it is a fitting piece of work indeed. Yet the lack of human feeling continues to be a problem, and the unremitting bleakness of Oxymore – though accurate for our age – makes it an album for admiration rather than love.

Mark The Hard Earth is a solid enough album but perhaps not the masterpiece that Drever fans were expecting. The man seems incapable of recording a duff track, but there are just a few moments on this album where he seems to take the easy route.

Unfortunately, just like The Vaccines debut, there is very little to really make you stand up and take notice.

Those who are justifiably fond of Tigerlily will find much to enjoy here. But it’s a shame Merchant didn’t take the opportunity to shake up the original album a bit more.

Ultimate Painting is certainly no big hitting, all powerful heavyweight champion of the world, it’s far more of a flower waving pacifist.

A collection of songs that successfully articulates Khouri’s musical identity.

While Nabuma Rubberband may not be the commercial breakthrough that some may have expected, it’s still a largely enjoyable record and, together with fellow Swede Lyyke Li‘s new album, proves once again that nobody does swooningly melancholic pop quite like the Scandanavians.

It’s different and at times more uplifting than most Parquet Courts albums, but it’s an album for the band, not for the fans.

As there is little deviation, you wonder if the band had control with the various producers largely going along with what the band wanted rather than trying to exert their own influences over the record. Whilst it does work at times, Life Is Yours will probably find itself confined to the list of also-ran albums of 2022 as a whole.

It's enjoyable, fast-paced and delivered with an undeniable amount of skill. But it isn't memorable enough.

It lacks that sprinkling of stardust to make it special, but after the valedictory bitter taste of Tarantula, it’s good to have Ride back and evidently enjoying themselves again.

While there's no arguments with the quality of the craft on display, over the course of a 12 track album, you may find yourself nodding off sometimes. Yet there's still a warm glow to this album, and anyone who's missed the sound of Knopfler expertly working the fretboard, will find much to love on it.

The patchiness of the album is perhaps a consequence of Kylie trying to placate the disparate portions of her remaining fanbase. Still, seven keepers out of 13 is a decent hit rate. A merry little album.

This was undoubtably an excellent night out if you were lucky enough to be in the audience, but as an album it’s a mild diversion at best, which will probably end up directing you back to the Dylan original.

It’s A Pleasure ultimately comes across as slight as its deliberately platitudinous title, but Dury remains an intriguing talent who’s worth following.

Annual feels like a one-paced, indistinctive first step into a new world and one that is begging for just the odd about-turn to maintain interest.

Heyoon is an often confusing collection that depicts a mad mind, but one that at times offers enough intrigue to warrant attention.

When RAYE is self-consciously rebelling against the mainstream it results in some of My 21st Century Blues’ worst music, whereas on the best tracks we hear an artist who fully deserves this victory lap and more.

It may not have the instant listenability of We Were Here, and there are parts where it gets slightly bogged down but, in the end, it is another worthy addition to their catalogue.

Their last studio record saw them in upbeat, energetic form, and whilst that playfulness is still present at times on Elwan, there is a conscious grounding too this time around.

While there’s no denying that when they hit their default groove – as on To the Nth, for example – GoGo Penguin are a mightily tight, impressive unit, this album does leave you wanting more from a very talented band clearly capable of greater things.

After You may plough a relatively safe furrow in its construction and execution, but he is a very relatable singer, and the keenly felt blue-eyed soul on here should win him new converts.