Like a butterfly flapping its wings in the Amazon causes a hurricane on the other side of the world, Breton’s attention to detail has made the all-encompassing tone of War Room Stories differ vastly.

The world of CEO remains an intriguing, if frustrating, place.

In Too Much Information, they’ve made easily the most interesting and eclectic album of their career--they just didn’t quite include enough of those heartwarming hooks to make it their best.

There are times when it feels sporadic and fragmented--with so many different elements crammed in to each track--but ultimately, it is the sound of a band pushing themselves further than they’ve ever gone before.

An at times minimal sounding album with steps and layers that build towards something. The music and the art stand apart, but they’re inevitably intertwined.

It’s not an easy listen and will send hipsters scurrying for their bobble hats and fake specs, but this is the sound of a band pushing themselves, challenging their audience and making something to be proud of.

The temptation to skip back to the start will probably creep in after a few plays, but stick with it and further, less immediate treasures will be revealed.

Occasionally there are moments of insignificance amongst the rocking gems and although these fall short of the band’s best tracks here, the contrast is another element that will likely add longevity to the album as a whole.

Some may find Tuttle’s hushed vocals a bit too insubstantial to last over the course of a whole album, and others may be turned off by all the psych trimmings. Yet fans of MMOSS will find much to satiate any need for a new fix and there’s enough evidence on this debut to suggest that Tuttle could well start to emulate those he holds in thrall, given time.

It challenges, questions and, quite frequently, unnerves. Despite all of this, you can’t quite stop listening. It’s a record that leaves you frozen.

Eve is yet another record from Angelique Kidjo that reaffirms her position as one of the most significant Africans performing today, and is the sound of her reaching out and celebrating the strong spirit and power of African women that she embodies.

Gibb continues his experimental combinations of genres and sounds while ambitiously weaving them into an album with a story about growing up, resulting in something flawed yet consistently captivating.

In the space of an album, we discover the difference between contented coupon cutting and chronic coupon cutting. It’s a strong testament to Feels Like Home’s sheer quality that such balance is present throughout.

It’ll never go down as a classic of the Crosby canon, yet it is quite unlike anything else he’s ever done. Perhaps it’s best summed up in four simple words--one for the purists.

Drowners is a fun little record, if you want to get all patronizing about it, but it’s difficult to get any further than that because of its staggering unoriginality.

Simplistic yet perfectly arranged, these songs are quite wonderful and open the way into a dreamworld that is familiar, strange, welcoming and every so often, quite terrifying.

Ultimately Into The Lime is a fun, if rather unexciting album.

With such impressive source material to play, they hardly need to embellish it.

It’s never dull and is sometimes quite extraordinary, taking multiple turns as it goes in order to keep listeners on their toes. Supreme Cuts is a scarce example of an artist moniker that well manages to sum up its own album.

This is a finely crafted homage to the late ’60s sound. Maybe sometime in the future Delt will really mess with the template, but for now, the devil (and the authenticity) is in the detail.

The movement towards synth pop is arguably a risky one, especially considering how congested that particular market is already. Yet, Cymbals show enough promise on The Age Of Fracture to suggest that they are in it for the long haul.

Snowbird have created a record to be cherished.

It’s another enjoyable album from a band quietly proving to be one of the more consistent groups around.

It is the work of a group of musicians finally comfortable in their own skin, with all the elements coming together in perfect harmony.

All in all, Dirty Gold is a solid first major-label album, one that is graced with several moments of brilliance.

None The Wiser is a highly enjoyable, infectious piece of upbeat indie rock that will surely see the band scale new heights.

Tranquilizers is an album that’s entrancing enough to survive its occasional foray into the lacklustre, and definitely one to cue up when the sky gets a little bit bluer.

To say it works well is an understatement.