Molchat Doma are having a blast reclaiming their heritage and proving themselves to be a more than an entertaining chip off the old Bloc.

Despite the immediacy and urgency of its public genesis, Tomorrow’s Modern Boxes is probably the least immediate album Yorke has been involved with to date. Like Kid A before it, it may turn out to be one of his most enduring.

The new interpretations confirm the timeless quality her songs possess, offering new perspectives on youth as now seen through experienced eyes. It can only be hoped that she has a suite of new songs up her sleeve, for on this evidence she remains one of the very finest vocalists in British pop music.

Cassadaga is everything his fans would expect from him - mournful, moody and full of lovely melodies.

So far so good--and if anything it gets better.

Essentially this is an album packed with genuine nuggets of pop gold.

The result is both classic Decemberists--all folk pop whimsy wrapped up in darker lyrics than their surface suggests--and a new direction, using the '60s/early '70s folk foundations to follow their logical path into that odd corner of the English genre that somehow crossed over with Heavy Metal.

While not as groundbreaking as the first Blueprint was, this is nonetheless a strong record, its A-list guests and production tempered nicely by the inclusion of in-the-now collaborators of the order of Young Jeezy and Empire Of The Sun front man Luke Steele.

Badu remains a singular, refreshingly unpolished talent.

Fantasy Island is arguably the peak of their output to date, which is a strong statement to make about a band who are well into their third decade.

The album is admirably steeped in pop music history without seeming derivative and where The Electric Lady triumphs is in its ability to connect with the listener.

Those who care not to pay much attention to lyrics might just find themselves bawling on the dancefloor without quite knowing why, as these earworm tunes form a perfect delivery system for the heartbreak (and occasionally a little vengeance) contained at their very core.

For the length of the album, at least, Kings Of Convenience do a standup job of convincing the listener that loud is long forgotten, and in these violent, uncertain times, quiet is king.

Overall, Power is a highly impressive body of work from a producer who continues to engage and surprise with each release.

It would seem that Destroyer Of The Void is an album that manages to both impress initially and continue to reveal virtues well into repeat spins; a trick that ensures the satisfaction of all manner of listeners, and one that reflects Blitzen Trapper's growing reputation as something of a must-hear.

Like its predecessor, Kiasmos II could be unkindly described as background coffee table music, as it is predominantly quiet and unobtrusive. But while fireworks are few and far between, those who immerse themselves fully in the sonic experience will find it utterly enchanting.

There’s something almost mathematical and architectural about Brooks’ guitar aggregations but these qualities are conveyed humbly and unobtrusively throughout.

It all makes for a terrific comeback for a band that have been very much missed over the last few years. As truly entertaining as the title promises, in fact.

The vocals retain the Eastern feel that pervades much of the album, but there’s more space here than elsewhere on Dalmak. There’s no bustling cities or wild parties spiralling out of control; instead it’s far more peaceful and elegant.

Does this sophomore effort, then, live up to the expectations created by its predecessor? In most ways, yes. In others, perhaps not.

As well as the unexpected guest stars – Damon Albarn! Chaka Khan! – there’s also songs about arcade games, an instrumental, and experimental tracks based on vocal repetition. It’s a far cry from the band’s usual breezy guitar pop, but it works beautifully well.

At 16 songs and a mere 43 minutes, Chromatica can feel a tad frenzied, but in the round marks a deft return to Lady Gaga’s club-pop roots, resplendent with much ’90s influence. There may not be anything really new here, but why mess with this formula when it can produce such engaging slaps and dancefloor empowerment? Gaga is back, with her bangers intact.

Fresh, exhilarating and mesmerizingly addictive, Means is neither a limousine nor a Mini--it’s a triumph from start to finish.

The gestation has meant that the album really captures her individual voice as a writer and singer whilst the variety in the instrumentation and sound presents her as an open-minded seeker of new ideas.

Alpha Zulu is certainly a top-tier Phoenix record, bringing back that effortless French cool in a way that only they can.

It’s a combination [simultaneously sound contemporary and old-time] that has been present in his music from day one and Bright Sunny South proves it’s one that still reaps significant dividends.

This is never going to replace your favourite Kevin Morby album, and it’s unlikely that it will make him new fans, but it feels like the kind of private delight that great artists bestow on their fans for their loyalty from time to time. Sundowner is Morby’s Harvest Moon, his Nebraska, his Hejira – a statement of intent made in the quietest way possible.

While it’s possibly a bit too similar to First Mind to have the same sort of impact that album did, this is still a powerful demonstration of what a fine musician Mulvey is.