There is undeniable passion and love infused throughout these songs and, if they tick all the right boxes, they do it magnificently.

Whether John Wizards’ debut album has lasting power is impossible to know, but for the moment, they’ve wholly succeeded in at least making something to appreciate.

An album of bona fide radio hits in an ideal world, a fine example of mainstream rock at its most tasteful, music that’s going to be popular and sell a lot but that’s not afraid to subtly defy expectations of what its makers are.

The dabbling with country music overall, however, is rather hit and miss and the distinct lack of variation over several tracks won’t help sell this album in large quantities. There is enough here though to satisfy those die-hard fans.

All in all, Sequel To The Prequel is a consistent and accomplished return from Babyshambles.

Ultimately it’s likely to work best on a cold winter’s night in a remote cottage with just the wind, a raging log fire, a glass of the strong stuff and sad memories for company.

Sounding more like Bon Iver than Volcano Choir’s own debut, this offering will surely appease Vernon’s fans most; while it deviates rather sharply from Unmap, there are occasional moments that recall the band in its infancy but it is clear that the four years since the debut arrived have resulted in the band’s evolution--and they are all the better for it.

The use of the light, nimble calabash instead of drums helps craft a subtle, hypnotic sound that eschews the rock dynamics recently incorporated by the likes of Tinariwen or Tamikrest. This approach creates music that is somehow simultaneously vibrant and contemplative.

Forever is a decent offering from a young band still developing their music and songwriting capabilities.

Splashh have done what their equally fresh-faced contemporaries have tried to do: make an exciting debut.

Breach is a fine return, but will most likely be seen as a transitional album in years to come.

In terms of songwriting quality alone, Invasion Of Love knocks spots off the competition.

It’s hard to deny that The Third Eye Centre is probably a fan-only affair and, indeed, a bit of a curate’s egg. Much of the time though, it’s a pretty tasty egg.

Ultimately, Era is a difficult album to get a handle on. Much like Wire’s 1979 masterpiece, it really, properly throws you the first few times, but the haunting oddness of the tracks means they gradually burrow their way under your skin.

What’s perhaps most impressive on Carrier is that the traditional (by The Dodos’ standards) rock songs, like the restrained Family, work just as well as the comparatively experimental tracks like Confidence.

This is not a world-changer, but it’s exciting, and great fun.

It’s a poised, carefully executed balance that captures Ikonika in an intriguing period of transition.

It’s an album that has facets from across the spectrum of experimental electronic music but, in the hands of the masterful sonic auteur Matthew Barnes, Forest Swords’ music sounds triumphantly singular. This is a very special album.

In The Shadow Of Heaven, Money have unveiled themselves as an ambitious band, who owe a fair bit to the influences of the city they live in as well as the generations of artist who have been inspired to write thoughtful rock music there.

An epic album, one that is occasionally repetitive but never less than one eye on the future, one eye on the road and the third eye gazing in awe at the heavens.

The mixture of mournfulness, savagery, lo-fi spirit and noise should appeal to psych fans and college rockers, metalheads and hardcore punks alike.

Delivering on all his potential with the sort of nonchalance and assurance we’ve come to expect from the young man, 6 Feet Beneath The Moon is a special album, from a special artist.

Franz Ferdinand have done what they didn’t quite manage on Tonight, combining their more experimental leanings with their irresistible dance-punk sound to create right thoughts, right words, right action, right album.

Falling down, getting up, and persevering through music is something Superchunk have done time and time again. On I Hate Music, they’ve bested even themselves.

Overall, Sound The Alarm is an experiment that sometimes wildly succeeds, sometimes pleases, sometimes bores, and sometimes crashes and burns.

When the band take a decent melody and build a whole track around it, the formula is a winning one; what won’t appeal to some though are the occasional meanderings where the spacey blips and bleeps appear to have no meaningful musical direction.

Despite the variety of styles on offer, Remiddi’s songs still have a tendency to seep into one another, and there seems to be more of an emphasis on atmosphere than melody on some tracks. However that atmosphere is well worth soaking in.

As it stands, Golden Suits is a lovely record, but one that could benefit from loosening up a little.