Supermigration may lack some of the euphoric moments of their debut album but these have been supplanted by a more rewarding, substantial set of attributes.

A debut album of soaring highs and some affecting melancholic soundscapes tempered slightly by just a few forgettable lulls.

While there is a satisfying absence of polish, there is a feeling of substantial professionalism to the whole of One Track Mind.

Save Rock And Roll is not only Fall Out Boy’s softest album yet, it is also their least memorable.

It combines such a variety of disparate styles that it really should not work, but Yeah Yeah Yeahs manage to tie everything together seamlessly into what is possibly their most assured and unique record to date.

Though undeniably powerful, Desperate Ground does become a bit monotonous due to the lack of variety of mood and change in pace.

The resulting amalgam never seems forced or affected, and with Curt Kirkwood’s mastery of the guitar the band can skip effortlessly across styles.

There’s much to enjoy on True Romance, although it’s probably best sampled in small doses as it doesn’t hang together that successfully over the course of an album.

The tracks don’t excite particularly: it’s all rather pedestrian, with the album occasionally struggling to hold attention. This is a shame, because the album’s closer and standout track, The Stars, shows they can manage it.

As the title of the opening song goes, Parquet Courts are swiftly becoming masters of their craft on an assured debut album brimming with unimpeachably great songs.

At 46 minutes, Recurring Dream isn’t an especially long album. But on the wrong day, at the wrong time and in the wrong frame of mind, it can feel like the longest 46 minutes in the history of all time.

There are the seeds of two worthwhile projects here, but no chance of them ever uniting under the Major Lazer banner.

Ghost On Ghost is a relaxed, unburdened work that should please most fans and generally be viewed positively elsewhere.

They are sketches--nothing more, nothing less. But it all changes on the final, aptly-named, track Opulent Decline.

It makes for a palliative record, to put on loop after an hour of Top 40.

There’s more than enough here to establish Ryder-Jones as a serious solo artist--all it needs is one more notch on the self-confidence dial, and that potential could translate into astounding results.

Admittedly there are a few misses (Changing All Those Changes for example), and it is sometimes a little too languid, but generally Peyroux’s homage to a masterful musician finds the right tones.

It might not be new any more, but it’s still formidably potent.

We already knew he was a talented composer and producer, but Wolf suggests he now may just be the finished article.

Generationals are far from the only band making chirpy, world-influenced indie-pop at the moment--but it has so much genuine charm, so expertly executed, that it’s impossible not to fall for.

English Electric--both melodically and artistically--stands as a rich, dignified entry in OMD’s catalogue.

The influence of new blood mixed with Paramore’s own distinct sound has created a vibrant, melodic record with sing-along choruses, and although it flirts with the softer side of the rock spectrum it’s still one ballsy album.

If you admire The Knife’s music for its incredible unpredictability and off-the-scale inventiveness, you are likely to consider this to be at least amongst their best work yet.

Here’s Willy Moon is an exciting debut from someone who’s trying to break the pop mould, several genres at a time.

What is perhaps most impressive about Beautiful Africa is its sheer number of thrilling twists and turns.

The 11 songs collected here are all among the very best of his career, enlivened with a vividness and warmth that offers something new with every repeated listen.

All in, Overgrown is a triumph. It is evidence of James Blake forging his own singular musical path, free from hype and expectation, and blossoming into both a producer of real compositional skill and a songwriter of great depth.

This is a splendid and rather accomplished debut album: one senses we haven’t heard the last from Louise, Sophie and Gemma.