This album, though at times an obscure experience to the untrained ear, is at other times Royksopp-like, though never to the point of radio friendliness.

Heartache has inspired countless songs and albums over the years and if nothing else Old Flowers shows how humans will continue to turn to music for comfort in times of sadness for many years to come. These songs have clearly provided solace to Andrews and it’s likely they’ll do the same for others in similar need.

It’s a strange sort of record which doesn’t exactly grab you from the off, but has quality enough to keep you coming back, and at least suggests that Ryley Walker’s next move will be intriguing.

Like most Hole albums, Nobody's Daughter has flashes of inspiration but is generally weighed down by inconsistency and too many songs that sound like they were phoned in.

Flesh And Machine is a record made with an abundance of indulgence; a collection of sounds that requires cynicism--and hopes for instant gratification--to be checked at the door.

As its title implies, Return To Ommadawn is nothing new of course, but it is a happy reunion that will please Oldfield’s fans greatly. It may not necessarily introduce him to a new audience, but it leads those in the know to a familiar place they know well.

Whilst Duppy Writer is an engaging and mostly enjoyable album, it also sometimes feels slightly lightweight, or intentionally minimal and immediate.

Head Carrier is a far more coherent album than Indie Cindy though (hardly surprising, as the latter was effectively a group of EPs welded together) and while it may not be a record to inspire the generations as their previous work did, there’s enough evidence that some of that old spark is still flickering.

Wonder Where We Land sounds like an album of great moments, rather than a consistently great record.

Fast Man Raider Man is simply too long, and, as such, a dilution.

It is better than the eponymous debut, although not to the level that their self-satisfaction with it would suggest, and there is still a distinct lack of consistency and a feeling that occasionally while you can see who and what they're aiming at, they miss quite considerably.

No One Is Lost isn’t a bad record: most of its songs are put together with care and the results are highly listenable. It’s just a shame the band seemed to lose their nerve in its execution.

Dominant Legs' debut album really is an album of two halves. After the strong opening, Invitation dwindles towards a less convincing conclusion.

While it sometimes does become a bit too overwrought, those people who found Tori Amos' vignettes so compelling will find much to love here. It helps as well that there's a light pop touch on many of the tracks.

Despite the clear-cut influences, Airbourne sound like they just want to rock and have fun in the process of making music to play live. Like Motorhead, this is a band that should be seen in all its headbangin', hair raisin' glory to be fully appreciated.

Whilst the prettiness in Tunng’s music can often be deceiving, it can also become a little oppressive after a while. The sound world can feel a little too bright and cute.

Anastasis is certainly an accomplished record and one that fits well within Dead Can Dance's output, but it is a hard listen.

Pacific Daydreams certainly doesn’t achieve the grandiose aims from the aforementioned inspiring proverb. That said, thankfully it is still a solid record which should satisfy fans.

The Violet Flame is a decent, solid album that will satisfy the faithful, while reminding the rest of the public that they’re still a going concern.

Stretched to album length, Haim’s shtick grows repetitive and the music is too frequently solid rather than inspired.

Anyone looking for another 'Hurricane' will be disappointed--but, for sheer eclecticism, the record hits a number of highs.

Greys need be a little more subtle in their own palette. It’s a great noise, just not yet a great sound.

The album's highlights far outweigh the more average moments, and there are enough signs here that The Like are going to be around for some time to come.

Unfortunately, it must be said that the results of this musical experiment aren't always as successful as they might have hoped.

It really is a shame that the production is so muddled, because Soon Away has some incredible moments that are marred by the sheer inability of the fidelity to convey what GRMLN and Park are feeling.

The sub-two minute ditties appear out of sequence and fail to offer much narrative glue to stick the album together. But at least they threatened to provide some structure to an album that sounds great but leaves you starved of proper sustenance.

Aside from the album not standing out from the competition the individual tracks have trouble standing out from each other.

Marks To Prove It remains oddly unsatisfying.