Whilst the debut got tongues wagging, the follow up is sure to get hearts pounding--a superb collection of tracks that points to a band that knows where it’s going.

This is a more mature, Baroque record, at times reminiscent of the best, new wav-ish tracks from The Posies' 1998 album, Success.

With its innate sun-necked nature and social atmosphere, despite its throbbing introspection, Stay Gold is perfectly poised to knock you for six this summer.

Pop Levi is an oddball, an eccentric in the finest English tradition and a man who evokes the effortless, timeless cool of many and varied heroes of modern music's life and times.

For Drab Majesty to take the next step, with an album that resonates with a larger audience, you feel that more depth is required along with more of the melodic excellence provided a handful of times here. If that happens it could even rival some of the best albums your dusty collection from the 80s boasts, such is the potential here.

Wholly unexpected and majestic, repeated plays will reward tenfold as song after song worms itself under the skin to create a thoroughly rewarding experience.

All of these tracks are elevated considerably by Lattimore’s production chops, as the skilled performances are turned into vast ambient soundscapes and she proves herself to be her best accompanist. If anyone in the alternative electronic world has been unaware of Mary Lattimore up until now, this album is a perfect insight into her creative abilities.

By the time the vocal duet and droning guitars of Chem Trails come around, you'll realise that this is the sound of a band who are going from strength to strength.

Reflektor is not the vintage record the hype would have us believe. But it will, if nothing else, get your feet moving.

C'Mon is a pause for breath, a likeable but slight addition to an impressive back catalogue.

It’s a very special second album that will resonate deeply both with early adopters and the wider audience that Ought will surely capture.

Despite the strength of this first offering, you can’t help but feel Foxygen haven’t quite reached their full potential.

Simultaneously the most-fully-realised of Chan Marshall's seven albums and yet one of missed opportunities.

The results may on occasion be fraught with discomfort, and feel like a caffeine overdose, but in that respect Get To Heaven is an accurate reflection of life today, with its overwhelming tags, mentions, likes, unread messages, stimulants and stress relievers.

Qualities like intelligence, eclecticism and imagination sometimes seem to be in short supply in the music industry - Candylion encapsulates all these qualities and more and deserves a far wider audience than the cult status it will undoubtedly settle into.

Constantly brilliant. White Chalk is an amazing album, racked with beauty, stricken with fragility and haunted with something otherworldly.

This isn't an album that's likely to change anything, but nor does it deserve to just pass by unnoticed.

After such a traumatic few years, it’s a minor miracle that Silberman is now back in The Antlers fold and sounding as good as ever. What’s more, for a band who made their name playing epically sad, often emotionally traumatic songs, Green To Gold sounds positively sunny and mellow in comparison.

At times, you do miss Romy providing the balance to Sim’s vocals, but this is, in its own way, as successful an xx side-project as the In Colour album has been. As an antidote to the long wait until the next album by the full band, this is a must listen.

This is a fine and often beautiful album, full of sensual delights and productions that vary from wafer-thin to chocolate rich. Throughout the focus is on Lanza and her feelings, which are reassuringly human and grounded. Combine that with its underground origins, and you have a record for the everyday listener.

Breaking Kaytabe is without a doubt one of the most impressive releases you'll hear all year, regardless of genre.

This excellent record stands as a testament to the fascinating links and interactions between musical cultures.

The songs effortlessly speak to all classes, to all walks of life, from a songwriter who never sings down to his audience. As always, Richard Hawley is one of us.

Beast Epic is a worthy addition to the Iron And Wine catalogue and an example of an album that improves the more and deeper you listen to it.

The relative brevity and sparseness of the album, allied to the fact that it largely extends ideas laid down earlier in Harris’s career, won’t see Grid Of Points talked of in the same elevated way as some of her other work. But it serves as a timely reminder of her ability to create beautifully slow and contemplative music.

The attention to detail where texture and colour is concerned is the crowning glory with the Engineers.

Deciding which music you listen to in a world that now benefits from so much of it is another tough choice, but in the case of The Jacket, it comfortably feels like it could be a very good fit for many.

Even during the times where her restless experimentation threatens to become a bit self-indulgent, you’re never far away from a blast of feedback to grab your attention again. It all adds up to a welcome return for one of rock music’s true modern icons.