When it gets the dynamics right, it’s undoubtedly a work of considerable skill, but it’s hard to escape the sense that what we’re hearing is essentially a well-crafted pastiche of other artists, rather something truly memorable in its own right.

Idles offer so much more than mere spit and bile. The nuance of what’s on offer on this record contributes to the rich contemporary loosely threaded punk scene that has produced bands like Protomartyr, Priests and Algiers.

Maybe it’s the heartache documented in these songs, but there’s an oddly listless quality to some of the album. ... However, some of the charm of those early songs is replicated.

So the album sees Interpol trying some new things, leaning on some preconceptions and loosening some of the ties which have previously bound. And it makes Marauder an extremely rewarding listen.

This is a fitting debut for a man who to many needs no introduction.

It’s a fine showcase for Tunng’s strongest set of songs in many years--happily, this seems to be one reunion that’s working out just fine.

Death Cab For Cutie aren’t changing any time soon, and Thank You For Today is another reliable if unsurprising missive from a band who seem to be settling into middle age comfortably.

Puberty 2’s only four-minute plus song was far and away its weakest, but here the songs are short, richly melodic, with layers of detail packed in--like super-compressed sad-pop bombs--and topped by Miyawaki’s vocals, at once commanding and plaintive.

Coup De Grace has plenty to offer, but it’s not a big step forward from Kane’s previous solo work. If you liked that you’ll probably like this; if you didn’t, this probably won’t change your mind.

An album that leaves few ripples on its smooth surface.

It is a hodgepodge of tracks, seemingly made with little thought to how they will all sound in sequence, and because of this it doesn’t have much more consistency than an eclectic music collection on shuffle. Which is a shame, because there are good ideas here.

The creative synthesis between her and producer Dre Skull means there isn’t a dull moment on the record. I Don’t Want: The Gold Fire Sessions is a gem, an energetic and hook-filled album that leaves the listener wanting more.

It probably would have come across better as a slightly leaner offering that was all killer no filler, but at its best Physical develops on his work with Factory Floor to create a distinctive style of his own, an unsettling retro take on house music that yields many fantastic results across the record.

Basic Volume is a strong, distinctive debut from a promising artist whose maturity and versatility are already apparent, highly recommended for fans of electronic music and dancehall.

The songs often seem underdeveloped, two brief verses buried between more noteworthy hooks.

Highlights are hard to pick out when so much of Happysad pursues the same vibe, but overall the album is an easygoing yet expressive release, highly recommended for fans of jazz and Stones Throw’s output.

With Family Portrait Ross From Friends (or Dr Geller as he prefers to be called) confirms enviable production skills that were already displayed on hype-building 12” releases, but is missing some songwriting nous that would have lifted the album up and made it a more consistently engaging listen.

The last album was such a darkly compelling set that it’d be wrong to frame Lamp Lit Prose as a ‘return to form’, but it’s perhaps a return to the light, to uneasy listening of a different sort.

Overall The Return is a vital addition to both the budding career of Kamaal Williams, and to modern jazz as a whole.

Fans of Tindersticks’ soundtrack albums such as Nenette et Boni may enjoy sailing in these peaceful waters, but those who still return to those two landmark mid-1990s albums will long for Staples’ darker, more unsettling side, which is all too absent on this thoughtful but somewhat lacklustre outing.

Like many of James’s records both as a solo artist and in My Morning Jacket, Uniform Distortion occasionally suffers dips in quality control and consequently the truly great album you feel he’s capable of is once again frustratingly elusive. But it’s still an absolute blast.

Coupled with mostly low-key guest appearances, The Pool isn’t an album that jumps out at you. It’s an easygoing record that has a sophisticated yet soulful centre, and that’s where its appeal lies.

Overall, Power is a highly impressive body of work from a producer who continues to engage and surprise with each release.

Mental Wounds Not Healing is a good launch point for those eager to discover both The Body and Uniform. It’s also one of those rare collaborative efforts that perfectly combines the aesthetics of everyone involved.

Years & Years offer a blueprint for UK pop that carries on the lineage of Pet Shop Boys and George Michael but is also forward-thinking and connected to the broader scene. And that really is something to be proud of.

Year Of The Snitch feels totally alien. It is an exhilarating release that doesn’t let up, and proves that six years on the group are still a force to be reckoned with.

An album that keeps pace with modern pop trends while remaining true to Aguilera’s past.

Themes For Television might not be the most dynamic album, but for fans of ambient electronic music it hits the spot.