It’s not as front-to-back enjoyable as Rated R or Lullabies To Paralyze, and it’s not as thematically consistent as the Mark Ronson produced Villains. So it is their worst album. But it’s still the worst album by the greatest rock ‘n’ roll band in the world. Take it for what it is.

Music this sparse, this abandoned and this beautiful... you can never have too much of it.

Where before they gave the distinct feel of a quick side-project for a bunch of talented musicians who were currently in other bands, on Mirrored it's clear that their hearts and souls are in every one of these songs.

This is an intriguing piece of work that has a strange allure, asking more questions than it answers – in a good way. It is satisfying to witness a new dimension to Bryan Ferry’s artistry, an ability to use old canvases to create new paintings with the help of Barratt’s evocative prose.

It’s another fine addition to a canon of work that has, over the last 20 years, been consistently excellent.

Own Your Ghost is a brilliantly conceived work, deserving of much more attention in the UK.

This album does indeed show a band running with a newly discovered sense of freedom.

It's a hugely enjoyable record, with songs on it as good as anything the individuals involved have produced elsewhere. It's simply that high standards achieved elsewhere aren't consistently obtained throughout.

The arrangements may be cleaner and songs embellished with alternative focuses but it would be hard to claim they don’t have the interests of the originals at heart. Seen as a sensitive collective tribute it’s hard to view it as anything else than a success.

Xiu Xiu fans get exactly what they want from Angel Guts, while new listeners will either become diehard devotees or be turned off by the lack of originality.

Each listen reveals moments easily missed the first time around, and they become the moments where Pollard’s underappreciated genius shines brightest.

For the most part, though, Morby is refashioning his admiration for canonical songwriters through a closer attention to mood, atmosphere and the evocative potential of sound.

Burton's Rome is a fascinating re-envisioning of romance and danger. It has all the components of a classic and makes for the perfect soundtrack to inject something wonderful into a dull day. Richly rewarding.

A fine return for an artist who seems as vibrant as ever, even in his eighth decade. Newcomers who have yet to discover the genius of David Byrne are possibly better directed to the Talking Heads back catalogue but long-term fans will find this to be an invigorating and often joyous addition to his discography.

All in all, Shadow Of Fear is a well-rounded release.

The collection of 11 tracks are both majestic and effortless--qualities that give the album a feeling of natural progression, perhaps bettering what's gone before.

The whole of Atrocity Exhibition takes Brown’s craft to a new level, even if his delivery occasionally grates. It’s by far the best thing he’s released and confirms his arrival among the rap elite.

O’Brien isn’t afraid to tackle heavy subjects (there are songs about self-doubt, faith and even a tribute to 19th century mathematician Ada Lovelace), but it’s all pushed through with a real lightness of touch that means that it’s easy to give The Art Of Pretending To Swim plenty of repeat listenings.

He's combined a sparkly and woozy aesthetic with killer melodies to create a cohesive and fun winning formula.

Heartleap benefits from some subtle, unexpected instrumentation, including kalimba and vibraphone butalthough it does include contributions from her touring band (including the great guitarist Gareth Dickson), it still feels personal to the point of being solitary.

It all adds up to the best Du Blonde album.

If American Doll Posse sees her remain an acquired taste, those who have already been converted are in for a treat.

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.

Shout Out Louds are back, in style.

For anyone seeking a new sound, in this case a vibrant take on Balkan folk through the eyes of a Westerner, there will be no disappointment.

Panda Bear Meets The Grim Reaper is often blissful electronica for both the heart and the brain.

By introducing the concept of rap as therapy through expansive, rambling tracks (that are admittedly a bit too trying on the patience to be played repeatedly), Tyler has certainly set himself apart from the endless sea of new young rappers.

There’s more than enough contained within to confirm Butler’s genius at resurrecting the early spirit of house music. This will be the soundtrack to many a party over the summer months.