Despite a couple of forgettable tracks near the end (the bland Tony The Tiger, and the overlong Everything To Nothing) then, this is an album that wears its befuddled, het-up, over-emotional heart on its sleeve, and is all the better, less slick and more interesting for it.

Cerulean Salt was a tough album to top but, with this bleak yet beautiful follow-up, Crutchfield might have done just that.

With fewer studio effects and electronic twiddles, Crash Love is a simpler rock record than its US number one predecessor "Decemberunderground." If anything, it's better however, and shows that while fusing goth, punk and pop doesn't need to be rocket science, when AFI are involved it's very definitely an artform.

It’s a pleasing touch that, even with a megastar like Buck present, Haines never dilutes his vision – this concluding part of the Haines/Buck trilogy is as satisfyingly off-kilter as its predecessors.

As the ever revolving wheel of influence spins to bring each individual ingredient to the fore, The Computers are not afraid to wear these influences unashamedly on their sleeves and in doing so have managed to produce a highly infectious piece of rock ‘n’ roll.

The grace is still there, but something far more engrossing has now been added to the mix.

Although it is only nine tracks long, Goat manage to get a lot in there in a tireless pursuit to keep creating.

It’s an album that will make your heart swell with joy in a club or will make your lip quiver with emotion on headphones in your bedroom. There are few dance producers who possess the skills to harness both these feelings and John Maclean has managed this masterfully here.

In their second album Confidence Man provide us with the feel good music we desperately need right now, taking the weight from our shoulders and offering more than a semblance of hope in difficult times.

A continually evolving amalgam of influences and sonic oddities, it slowly creeps into the subconscious, unsettling and calming as it works its magic.

It’s the sort of album which flows naturally along, with not a song, or even a lyric out of place. She’s been flying under the radar pretty consistently for a decade now, but if there’s more records of the quality of The Spur, more people will inevitably fall in love with Joan Shelley’s music.

At just eight tracks and clocking in at 40 minutes, Former Things is never in any danger of outstaying its welcome. There’s an argument to be had that some variety could improve the record, as there’s a definite template being stuck to. That’s not necessarily a bad thing though – LoneLady’s third album is the sound of an artist expanding her musical horizons and reaping the rewards.

It’s a supremely impressive and affecting album that is certain to propel him to an even greater echelon.

It's great to hear this timeless artist so relaxed and enjoying herself. Perhaps if she continues her collaborative relationship with The Siss Boom Bang, future recordings could be even more special.

There may not be too many surprises on Get Up Sequences Part 2 (and it works perfectly well as a double album with its predecessor), but there doesn’t really need to be with The Go! Team. It’s the usual shot of audio adrenaline, and they still sound as life-affirming as they did nearly 20 years ago.

Small Changes may not be as accessible or immediate as Kiwanuka’s previous albums, but it’s another wonderful record from one of our most talented singer-songwriters.

Thanks, in no small part to Spank Rock producer Armani XXXchange, Midnight Boom also possesses of this air of modernity and experimentation which is never less than startling.

In the unlikely event you needed any more demonstration of the woman's talent, this is it.

It's just impossible to hate something so glorious.

A fairly straight-up radio friendly rock album.

Grace/Wastelands is Doherty scrubbed up, older and wiser and showing signs of regret for the past. It is a great album but then, so have they all been.

For a debut album, there are precious few mis-steps, apart from perhaps a little too much instrumental noodling. But, aside from that, it is remarkably consistent.

Listening to the album as a whole, it's satisfyingly compact, a neatly produced record with stand-out tracks and growers.

When you have the knack, as this band most clearly have, of infusing your music with such full and rich emotion, then it makes sense to use that as your primary method of conveying meaning.

As a debut album it goes over well, with a convincing display of versatility and quality songwriting that firmly establishes Mabel as a force to be reckoned with in UK pop.

While it may lack the instant hooks of her earlier work, and take a bit more time to sink in, once it has its emotional hooks in you, you’ll be hard pressed to stop listening to it.

It is, all in, a fantastic first effort.

Fans of the old soundtrack will find much to love in the new interpretations, and coming from such iconic source material, Carpenter couldn’t really fail. With any luck, the new movie will measure up to the soundtrack and the high expectations that fans of the original movie have for it.