Overall, Galore has some fantastic moments, but remains a thoroughly uneven release with some serious thematic flaws that Thumpers will hopefully iron out by their sophomore album.

Angus & Julia Stone have succeeded in sounding like a lo-fi Australian indie version of late ’70s Fleetwood Mac, and although this record is no Rumours it is without doubt the Sydney siblings’ best effort yet.

This release was unusual for the band in that it was accompanied with the lyrics in the liner notes, however, so the words that are sung, muttered, chanted and whispered are available if needed, on this most beguiling, dream-like and ultimately just-out-of-reach release.

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

Overall, I Love You, It's Cool is a solid, but unspectacular, return from Bear In Heaven.

Digital Native is an album that is fragile and elusive. Its main weakness is that are too few moments to really catch onto amid fleeting moments of beauty and invention.

In Talahomi Way The High Llamas have produced another album far greater than the sum of its component parts. It is unlikely to create any major impact on the current musical landscape but it augments and improves it in its own special little way.

Taken strictly as an aural experience, it’s a brave and sometimes moving work that nonetheless falls well short of success.

A fun, engaging record.

Remember that We Have Sound was an impressive debut, but it wasn't quite the flawless diamond of popular memory. So it is with Leisure Seizure.

While there are resemblances Spiritualized, what should be a slow burning record, white hot in its intensity, is laid to rest sounding rather limp and uninspired.

Smug, smarmy, metropolitan critics might declare the album generic and derivative, but the kid undeniably has tunes--more tunes than such people have ever written even in their wildest rock star fantasies.

It’s stupid fun, but In My World is also a surprisingly intelligent release with quite a few surprises.

Though it’s hardly a full-blown reinvention, The Getaway shows that even after more than 30 years in the business Red Hot Chili Peppers still have something new to offer.

Though scattershot emotional mayhem, this album is a resounding triumph.

Listening to this album is rather like a lucid experience that you never want to wake up from--and it is Sankey and Warmsley’s most impressive record to date.

At 10 tracks, Endless Flowers gets in, does what it does best and gets out again, leaving a stunning corpse with beautiful cheek bones.

An album that could just see Hemming and company add some more fans in addition to their celebrity admirers.

Waking Lines may not always hit the mark, but for a debut effort it offers lashings of promise for Patterns’ future if they can either hone their songwriting skills or take a detour down the lengthy drone-pop street

This is basically a gang of extremely accomplished musicians in their 60s getting together, who have no need to break any new barriers. As such, it’s another worthy entry in the canon for this particular gang of heroes.

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.

Familial is a solo album that has qualities you might not have expected to begin with: vivid, memorable lyrics that describe a variety of emotions, its incredibly soft arrangements and, of course, the fact that he can actually sing, proving wrong the famous 'drummers are not frontmen' rock'n'roll myth in the process.

Despite it taking four years to come out, pretty much all of the songs on Always Tomorrow are forgettable, and made up of riffs so basic and hooks so anonymous that you’ll probably end up wishing they’d have waited a little longer.

Without wishing to unduly gloss over the intermitting albums, Outbursts captures and builds upon the intangible beauty of their debut effort. Turin Brakes are, once again, a must-hear.

It's not a bad record, but by The Zutons' own extremely high standards, it's a disappointment.

The result of the flawless playing and polished production, however, is ultimately a too-perfect sound, lacking drama and grit. With his darkest years behind him, Wilson seems willing to use only the brightest colours in the paintbox.

The record drags when it should soar.

Salute is an undeniably solid album, and has a lot more going for it than similar efforts from many of Little Mix’s pop peers this year.