Hearts is not an album of change, but one that revels in the joy of what you know.

La Liberación is not a new lease of life but perhaps a glimpse of one - if only in moments, if only in one track, there still seems to be enough to keep them going. And on those good bits alone, they're worth just one more chance.

As ever, there's a jamming seam throughout the Malkmus landscape, with the likes of Brian Gallop descending (or ascending, more appropriately) into freeform guitar passages that, while inevitably slightly indulgent, are never less than engaging, tuneful and, above all, enjoyable.

Seven Rainbows is too limited to reflect the globe-trotting wanderlust of this character, Alice Gold. It's too tame to namecheck her wishlist, too insipid to do them justice.

For the inexperienced deterred by Fela's 30 minute jams, Seun Kuti offers a more digestible approach to the afrobeat form, without sacrificing any of the clarity and energy of the original brand. For the already initiated, it's a crisper, more modern approach--unlikely to offer much that is truly new or unexpected, but insanely inspiring nonetheless.

At times Drums Between The Bells is too busy, too packed with musical style and incident, but its patchwork nature reveals itself over subsequent listens to be a largely rewarding one.

Dolly has invited you to her hoe-down, and it would be churlish to refuse. Just remember to leave your brain at the barn door.

Amongst the buzzing guitars however it is possible to detect small signs of improvement and fine-tuning, whilst it also boasts a greater melodic strength than its predecessor.

Open-mindedness and a change of approach is often laudable but, in this case, it has resulted in an album that, whilst entirely pleasant and enjoyable, is far less adventurous.

It's a different animal than its predecessor, but Watch Me Dance is a fine second outing from a promising young producer.

The contributions of an impressive guest list only serve to further enhance this compelling music, which remains uniquely imbued with the spirit of the environment that shaped it.

What is most impressive about Route One Or Die is the utter sense of conviction and commitment brought to every aspect of this complex, intricate music.

This is the most consistently impressive Beirut record yet, proving its creator is now able to harness his occasional excesses and directly engage with his audience without losing the invention and flair that make him such a rare talent.

Just as the early promise of the album looks to be coming unwound, closing track Pictures Of A Bird finds the band in fine form.

Welcome Reality gets it half right--this is a decent debut which more than lives up to the hype, but is so mind-blowingly out-there that any suggestion that it resembles 'reality' ought to launch a Trading Standards investigation.

Slave Ambient is an amazing record, but it is far from immediate as these songs take time to develop into something tangible.

Watch the Throne feels all too fractured from the tension of two rappers (and two egos) at the top of their game, trying to get along.

It's a shame that Hynes' songwriting chops haven't developed as quickly as his musical skills. But this shouldn't put the brakes on Hynes' progress: Coastal Grooves might be a forgettable, minor work, but Hynes' career to date proves that he shouldn't be written off easily.

In Waves is not Trivium's finest moment by any stretch of the imagination but it does point towards the band having found direction and its own voice for the first time in quite a while.

His debut album (a previous finished collection was never released) skates dangerously close to self indulgent pastiche yet contains some immaculately played gems that possess the definitive crackle of old school analogue tape sessions.

Their impression is clear, but the soul, and even the primary reason why this sort of music was great in the first place, is coldly removed. It makes for a slightly uncanny listen, like a collection of all the filler tracks from '88 twee.

This is a brilliantly ambitious, exploratory recording that captures the pure, powerful vibe of a great ensemble.

If you want to stretch your wings further, you need originality and you need not just bravado but actual courage--and Viva Brother's world is neither brave nor new.

While there's nothing particularly wrong with looking to the past for influences, Yucca struggles at times beneath the weight of those it seeks to emulate.

The Randy Newman Songbook Vol 2 is an invigorating celebration of the power of music, and a delicate declaration of the power of one man and his piano.

Consistent, yes, but also vaguely disappointing, the band may be at the peak of their powers but it's almost a shame to see all the mystery drained away.

Unfortunately, it's generally downhill all the way thereafter, as it becomes rapidly apparent that Young The Giant have banged out all their best songs early on and rapidly run out of ideas.

If you love the bands The Ladybug Transistor love it's worth a listen, but this won't be the album to propel them forwards.