If only The Last Flight could have been longer – both initially and on this record – for it is a gripping page turner, the heart of the listener captured as we soar with Amelia Earhart through her last adventure. Returning to earth is momentarily distracting – but only heightens the desire for more.

The Howling Bells sound packs a punch as before, though there is a maturity to their interaction, a familiarity in each other’s presence that has been easily resurrected while stopping short of being the musical equivalent of comfy slippers.

In order to achieve the greatness within their grasp the bicycle club need to do some free-wheeling instead of all this furious peddling.

In comparison to earlier efforts though, the new album feels like a huge step forward and the lengthier fuzzed out jams are excellent, and surely good enough to be spotted on a few more radars.

This may all sound exhausting, but luckily The Hives have the songs to back up their energy.

Forgiveness Rock Record might lack the romance of Funeral but it's far more alive than Neon Bible, with an urgency and energy that invigorates rather than drains.

Louder, Please is an accomplished debut album, successfully straddling genres without being beholden to them and painting a holistic picture of this exciting new artist.

This soundtrack is a successful exercise in painting pictures with music.

When you're listening to Some Racing, Some Stopping you're caught up in a safe, warm, fluffy little world. It's only when you get back to harsh reality you realise that Headlights haven't really written much in the way of hooks.

Overall however, listening to Saltwater you realise that, while the album contains nothing seriously off-putting, you grow tired of Brazos’ style when listening to it.

There’s nothing revolutionary on Flat White Moon, especially if you’re a long-term fan. What it is, however, is another impressively solid record from Field Music, who have quietly, over the last few years, turned into one of the country’s most consistent acts.

As ever from this source, the songs are neatly crafted, with a touch of folk music added to their melodies, not to mention the instantly memorable and quotable lyrics.

The Big Roar has been some time in coming, but it has been well worth the wait. This could finally be The Joy Formidable's year.

It's a roots record alright, with a few crumbs of hope amidst the looming sense of armageddon.

Whilst Duppy Writer is an engaging and mostly enjoyable album, it also sometimes feels slightly lightweight, or intentionally minimal and immediate.

It never really breaks free, but The Absence is, in its best bits, an album of real beauty and elegance, and should cause hearts to grow fond of her.

It’s just 13 killer tracks hovering around the three and four minute mark originally designed for maximum 12” impact rather than a living room listen. But popping on headphones helps appreciate just how much Boo manages to squeeze into his tracks.

While this different feel to the album leaves some of the pacing feeling a little repetitive, there is no doubt that the talent shines through.

Numan’s consistency is also his biggest downfall. There’s simply no reason to listen to Intruder if you’ve heard any of the albums he’s released in the past decade, because it’s virtually identical to his previous works.

While Love Remains proved a hard listen because of its liberal use of distorted effects, Total Loss is tough going because of the emotional intensity of its content.

What really makes Gliss Riffer stand out in Dan Deacon’s discography though is the feeling that you’re being allowed in to his own personal, private world.

If Dirt Femme is the sound of Tove Lo finding her feet, the future seems very bright indeed.

While it inevitably doesn’t have the shattering impact of Psychocandy, it does confirm their unlikely status as elder statesmen that a whole new generation can look up to.

The highlight, however, comes at the very end. The dense and deeply hypnotic title track Goodnight Oslo could well end up on the list of class A drugs the next time the government gets round to discussing such matters.

Isn’t It Now may well be a typical Animal Collective album, but it’s full of creativity and invention that not many bands could pull off after 25 years of recording together.

Half-Light is a good introduction to the solo sound of Rostam Batmanglij. It’s likely to remain more of a cult interest than establish Rostam as a star in his own right, but even when it becomes a bit unfocused it’s clear that Batmanglij remains a major talent.

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.

Let's Get Out Of This Country delivers ten perfect pop tunes.