Unlike those other Radiohead solo and side projects, you can easily imagine The Smile appealing to more than those aforementioned obsessives. As a soundtrack to these unsettling, rather terrifying times, you won’t find many better composers than Yorke and Greenwood.

Yes, Heavy Ghost is weird, but Stith's melodies are simple and wonderful, making his experimentation easy to follow and, with his enchanting choral throughout, it's easy to get lost in every song--or even engulfed into a new fantastical land that you may never want to escape from.

This is a splendid and rather accomplished debut album: one senses we haven’t heard the last from Louise, Sophie and Gemma.

Some of the experiments here may work better than others in the long term, but it is far better that Beam is an artist prepared to take risks. His best work may be yet to come, while his writing remains vivid and evocative.

Whilst this is an album that will draw comparisons to the band that made her name, it is a fine, if long overdue, solo effort.

Foster The People make infectiously good music, don't stick to a formula and make you yearn to lie on your back in the middle of a field, feeling the hot sun streaming down on your face.

Selling is an inspired project, and On Reflection utilises the best of both artists to produce a project that is fascinating, pretty and groovy all at once: required listening for fans of electronic music.

The record doesn’t just match the standard of their first, it surpasses it.

Throughout the 10 songs both performers are clearly having fun, and yet--as you might expect from its Ghost Stories title--there is darkness at the heart of this album. For that reason it is the perfect Yuletide accompaniment, capturing perfectly the comforts and wonder of the season--but also the awkwardness nobody wants to talk about.

This album is full of fun, and peppered with potential classics.

There are 14 tracks all in all, together with a couple of skits. Yet Smith refuses to fall into this trap, by some smart sequencing of the tracks: with the ballads mostly gathered towards the end of the record, Falling Or Flying feels like a coherent album rather than a collection of tracks stringed together.

What really grabs the attention about Animal though is its energy. ... LUMP are just as effective though when they bring the tempo down a bit.

An album that could just see Hemming and company add some more fans in addition to their celebrity admirers.

King Of Limbs is a subtle, muti-layered affair - surprisingly low-key in places, and it certainly won't win back any fans who checked out in the late '90s.

These songs might not be his most immediate, but House Of Sugar, it rewards repeated listening as these songs start to reveal their hidden depths with every listen. Whether its ever possibly to get right to the bottom of them is another matter, but really, it’s the mystery of them that makes them so appealing.

Whilst the record is without doubt clamorous, murky and often times boisterous, it’s in no way petulant or immovable.

If you don’t pay attention, it’s harmless background fluff, yet if you concentrate there are mysteries and subtleties to discover that demand repeat listens.

All in, Courage marks an impressive return.

It’s hard not to see Playground In A Lake as the most ambitious Clark release to date, an adventurous collision of different musical worlds that also carries an important underlying environmental message. It offers a bold pointer towards the future, both in terms of Clark’s own ongoing musical journey and the broader fate of the planet.

It's appealingly uncompromising and right on the border between lucidity and madness.

Join The Dots is a very good album, derivative maybe, but much more than the sum of its parts.

The essence of what made Penguin Cafe Orchestra is here: the music is dreamlike and does indeed touch the heart of the listener.

Even with 14 tracks, Blue Rev never seems to outstay its welcome. That’s probably helped by some curveballs that the band throw.

In short, it’s an album that demonstrates the continuing merit of musical collaboration while also offering a hopeful counterpoint to a world all too often consumed by negativity and strife.

There are times when it feels a bit prescribed; dream-pop by numbers. But when they're at their best Sun Airway have a knack of perfectly balancing melancholy with intelligence and brutal honesty.

In less skilled, less ambitious hands, this record could have been derivative and hackneyed. Instead it is an unqualified triumph for a young band who, with a little luck, should go on to achieve widespread acclaim in years to come.

The muted, lo-fi quasi-psychedelia of his early work has largely been replaced by mellow, contented songs and while it may take a couple of plays to fully establish itself it’s very much worth investing time in. Sonically, it has a notable consistency and poise with the quirkiness of his early albums now having given way to more conventional approaches.

It might not be as immediate in places as some of his previous albums but given time these songs grow and blossom in similar fashion to the flower that adorns the album cover.