Vicissitude is such a wispy, bloodless record that it’s hard to find anything to recommend about it.

If one yearns for bigger and better things from Goldheart Assembly, it’s only because Long Distance Song Effects suggests they really do have the potential for greatness.

Tides stakes an admirable claim to being a first tentative step in building a more advanced, melodic palette.

Although the writing credits on all but one of the album’s tracks is given to Pressnall and Fackler, thereby excluding Bohling, it is her mesmerizing vocals that form the basis of the album, and leads to its artistically collaborative success.

With prevalent lyrical themes of death and loss, Ceremony is not music for those seeking sunny summer escapism. Yet when compared to UK gothic revivalists such as Esben And The Witch, it’s an album of striking confidence, immense compositional flair and colossal, richly cinematic arrangements.

For those prepared to take the rough with the smooth, there are many moments of exquisite beauty to enjoy on this record.

Once again, they have come up with a lovingly crafted tribute to the idiosyncrasies of England’s summer sport, and those who approach it as a bit of harmless fun will be humming these songs with a smile on their face at least until the final ball of the Ashes series is bowled.

Too many songs spend too much time doing precisely nothing.

The Archer Part 3 is the work of a band fascinated by sound and the possibilities of contrasts. Here are two musicians who never seem to go for the easy, comfortable option.

Although unlikely to ever achieve anything anywhere near their most clear points of reference, they have created a decent debut that may be the springboard to considerably greater success, should Dimou not suffer from cold feet once again.

Palms then is so much more than the sum of its constituent parts. It won’t please everyone, particularly those with preconceived notions. But with any luck, this collaboration will continue beyond a single album, because on this evidence they’re really onto something.

While Bass Drum Of Death is stripped back and wins many points for commitment to a certain aesthetic, it’s also a largely successful album in terms of tunes.

For him, music is all about expression and collaboration. On The Visitor, he has crystallised those principles into a richly beguiling and inventive work that crosses musical boundaries effortlessly.

Chewed Corners is a perfect comeback. It’s an album full of vivid, reflective, yet inventive electronica that ties together all of Mike Paradinas’ influences.

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.

In Without Your Love he shows that he’s evolved from sinister experimentalist to a creator of powerful and highly original songs.

This album is a fine addition to his collection of socially conscious afrobeat. It’s a sound and approach that pays debt to his father, but is forged in Femi Kuti’s own singular identity.

At times Lightning Dust produce some sublime moments on Fantasy but there are too few of these to warrant repetitive plays of the album as a whole.

Soft Will marks a further refinement of Smith Westerns’ sound, resulting in one of the year’s most straightforwardly enjoyable indie-rock records.

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.

If they only had slightly better tunes, the temptation to highlight the supposedly novel elements of their act might prove easier to resist.

In spite of its impassioned politics and firebrand title, Statement Of Intent for the most part pursued a more mature writing style with greater depth and subtlety. Everything We Hold continues this trend, whilst also offering strong, affecting songs that might increase this band’s commercial potential.

Yes, Love Undercover does sound a bit different from The Coral’s material, with a more soul and R&B influence, not to mention Merseybeat, but there is nothing particularly distinctive in the music.

At its most nondescript, it’s the sound of a band falling between two musical stools. At its best, I’m Leaving is the sound of a band smartly prolonging its sell-by date.

Even the very best double albums--London Calling, The White Album, Tusk – have their lulls, but this record has too many.

A lean, 40-minute LP that’s big on melody and small on post-production .

Whilst the prettiness in Tunng’s music can often be deceiving, it can also become a little oppressive after a while. The sound world can feel a little too bright and cute.

It may not rock your world but, against all the odds, The Conversation presents a Texas which you can imagine falling a little bit in love with.