Lyrically it is rich pickings for those that savour the words so often masked by either sheer noise or mumbled vocals, as O’Brien proves how he has developed into a rather impressive poet.

At times, it’s the lyrics in Old Fears that firmly stand out over the music itself.

Much of what follows is vintage Stranglers, incorporating tributes to their departed friend. These are done both explicitly (the touching song And If You Should See Dave…) and by association (This Song).

Real Life Is No Cool inhabits a place where pop, electro, house, funk and disco collide, and the results are accomplished, stylish and, above all, fun.

Its cumulative impact is immense, the singer giving everything she has to the music. Limbs may not be an easy listen, but Keeley Forsyth makes it an essential one, singing from the depths of her very bones.

It's clear that Trans Love Energies has been a long time in the making, but Fearless has managed to make it sound like a fresh piece of work.

While the lovely melodies and Vega's hushed vocals make it perfectly good background music, to achieve the full effect you have to listen to those lyrics--she's one of the finest lyricists of recent times.

The result is sublime, lost somewhere between a 3.00am Ibiza beach party, the Royal Festival Hall and the best soundtracked bedroom in the whole damn world.

This is an odd gem of a record that should be cherished in a class of its own.

While he's certainly earned his right to experiment with genres - really, to do whatever the hell he wants - he's never so affecting or engaging as when he's reduced to his quivering roots.

Ultimately, Haines has once again succeeded in producing a surreal, engaging and magnificently wry collection of songs that provide a satisfying conclusion to his concept trilogy.

Puberty 2’s only four-minute plus song was far and away its weakest, but here the songs are short, richly melodic, with layers of detail packed in--like super-compressed sad-pop bombs--and topped by Miyawaki’s vocals, at once commanding and plaintive.

This is emotional, mature art you listen to on some lonesome night--or with a loved one--intently, focused, and open. You will not be disappointed.

An exuberant and heartening spin of the songwriting wheel, a carefree and not overthought documentation of how creativity can be harnessed and fledgling ideas brought to realisation More importantly, it’s a valuable addition to his catalogue that should provide happiness to many.

The experimental edge that Wainwright has introduced with this album bodes well for the future--while she may not be writing operas like her brother, she remains one of the most intriguing, honest songwriters around today.

Some more cynical types may find this heart-on-sleeve approach too cloying, but the delivery and writing is so honest and heartfelt, it’s impossible not to be charmed. Carner is a genuine talent, and this second album demonstrates just why he’s so highly rated.

Submarine is the sound of the real Turner emerging to the surface, and it offers a depth charge to the age of the lazy movie soundtrack.

Festival Bell is by no means perfect. It can, at times, become somewhat samey, and, at just over an hour long, could definitely do with a trim. But none of that's really important; because the music stored within Festival Bell's grooves is living proof that the venerable Cult of Fairport.

The Bravest Man In The Universe is a success. It doesn't re-invent Womack as some sort of lost beacon of soul, nor is it an ersatz look at the career trajectory of a legendary figure. Instead the album posits Womack as a restless spirit, ever expository, invigorated and emboldened by age and experience.

It still sounds like them--just an improved, sharpened up them. And it’s wonderful for it; their best yet.

Elinor Dougall has obviously taken her time to get this album sounding just as she wants – Strange Warnings and Poison Ivy first appeared on 2013’s Future Vanishes EP – and, on the majority of these cuts, that time has been unquestionably well spent. It doesn’t all work. ... Stellular finishes strong, however.

Wells is an immense talent, and for those willing to put the time in, there’s so much to enjoy in these dreamlike baroque-pop numbers.

It’s a collection of 11 instantly likeable songs that, from the title onwards (a twist on a motto of the BBC) seem to touch on communication issues, growing old and lessons that life can teach you. Collins’ voice, despite his health issues over the years, is still as rich and distinctive as ever and suits these songs like the comfiest of jumpers.

It is a glorious statement of intent from one of pop's most misunderstood characters.

It is to Costas and Burton's credit that they have fashioned such an enchanting album from such an unpromising premise.

Lush is an album that the devoted will take to their hearts and luxuriate in its sadness. Some may decry the lack of variety on show (there’s a definite template to a Snail Mail song and it’s stuck to rigidly on Lush), but it cannot be denied that this is a debut that promises great things to come.

The lack of introspective revelation is part of the whole mystique, and this debut album offers a striking first glimpse into The Child Of Lov’s bewitching melting pot of sounds.

This is the sound of a band truly enjoying themselves in the studio, confident enough in their abilities to freely collaborate with other big names.