At times it's hilarious, especially the song openings, which evoke poodle-rock heroes in mock affection, but the tracks then go somewhere inconceivably cool, twisting, shimmering and generally rocking in drool-worthy style.

As musically un-diverse as it may be, how cynical and jaded you would have to be to take against it. Tennis’ music is not intended to push at vanguards, but to make you happy.

It occasionally threatens to become a bit overwhelming and topple in on itself. Most of the time though, Murdoch and company keep things steadily focused, and the result is another accomplished record from one of this country’s most consistent bands.

Yes, it’s a mess but somehow a thoroughly glorious and jubilant mess. In other words, it’s a perfect encapsulation of everything that Man It Feels Like Space Again is.

With Jóhannsson's surety of touch, Fordlândia becomes a wonderfully intense piece of work.

Many of the songs here will certainly rank among Vanderslice's best work, and the album as a whole deserves repeated listens, if only to parse out the seemingly infinite layers of nuance.

These might not be the original performances, but the reworking of them has made them a little brighter and most importantly, they’ve lost none of their original power.

Certainly, some people will find Aventine a bit hard to take – at first listen, it sounds so pleasant it just washes over, and it’s only on repeated plays that its dark mysteries reveal itself.

It’s beautiful in its own manner, and thankfully avoids the one-sound pitfall into which ambient music may fall.

It may last just 32 minutes, but You & I Are Earth never feels rushed or slight. There’s a kind of glow to many of its tracks and it’s that glow which gives this record its own power. .... The best album of Anna B Savage’s career to date.

An album filled with singles that should be instant hits.

The Other Side Of Make-Believe is a dependably great album from a dependably great band.

In Ghost Colours finds the band brimming with confidence, delivering their catchy choruses and synthesizer hooks with a conviction that's difficult to resist, staying true throughout to a groove that fits in with early house music.

A hugely impressive return from Drenge, who have once again produced a collection of songs that will leave you feeling dirty but, more importantly, completely satisfied.

While they might not be better than ever, they’re at least what they once were and what they’ve always been in the collective memory: instrumental virtuosos and sophisticated songsmiths, all the while finding a way to make it look easy.

Fridmann's production has given the band a whole new environment in which to play, and they've had their fun whilst making great, powerful music in the process.

This new project is hardly a bandwagon-shaped whim. Instead, Fool's Gold, the album, has been made with genuine passion and a desire to pay homage to something its creators clearly love.

Primitive And Deadly, in part, represents an encapsulation of Earth’s discography, but more importantly it also sees the band moving on, entering a new phase and expanding their dimensions.

We Will Always Love You is an emotional rollercoaster, and a lovingly put-together tapestry that signals The Avalanches entering the 2020s as vibrant as ever.

Here, they manage to do their maturing without losing the sheer likability which saved the debut from completely drowning in a sea of ideas.

It’s a record which will make a fine introduction to Stars for any newcomers, while long-term fans will hail it as their finest work since Set Yourself On Fire. At its essence, From Capelton Hill is a distillation of what makes Stars so great.

This is a fine album and certainly Feist's best yet.

They do make thoroughly exciting music that becomes quickly airborne, able to move the listener to a different plane with disarming ease.

Dreamers Are Waiting is a very welcome return for a band who have been away for far too long.

A well crafted album that takes a fascinating journey through the history of American rock music, geography and pharmaceuticals.

Throughout this eventful record Flohio keeps a clear sense of lyrical and stylistic integrity, and by the time Against The Grain’s glitchy percussion cuts out to reveal solitary reverbed chords we’re left with one of the standout rap albums of the year.

As frenetic as it is instant, melodic and catchy.

Unusually for a debut album, there's not a dud track here, and even the less immediate tracks such as February Snow work their way into your brain after a few plays.