It may not quite have the immediate irresistibility and wide-eyed innocence of its predecessor but it successfully builds on and expands the sounds previously established.

He has made five albums, at least three of which are very fine indeed. But concern was growing that he might have peaked creatively. Bleeds refutes that notion emphatically, within a minute of the start.

Not giving a little more is a problem that hangs over the end of the album, and for some of the more rabid fans of The National it’s something that they’ll consider a problem for the entirety of Return To The Moon. There are some bright and poignant moments here though, but, like the majority of The National’s work, the depths of the album may take a while to become apparent.

This is firmly heading towards the subtler, less heavy summery sounds of The Proper Ornaments and Ultimate Painting and, while there’s little wrong with that, it may be a little disappointing to those that were so impressed by their occasionally mouth-watering first.

Whilst not engrossing for the entirety of its running, Many Moons is still a pleasurable listening experience. It takes a few listens to get to the lyrical gems, which can often be remarkably revelatory.

As down-to-earth and likeable as its creator, this is an enjoyable collection that mostly avoids the pitfalls of solo albums by members of successful bands that are still very much a going concern.

It’s A Holiday Soul Party is, for the most part, smooth and subtle enough to be enjoyed at any time of the year.

The quality of Toledo’s songs is gobsmacking; the lyrics are enthralling, the melodies are to die for, the musicianship is raw yet brilliant.

Solo projects can be very hit and miss affairs, but Here In The Deep is an evocative and at times quite wonderful set, with some gloriously summery melodies: far more than just an album written to fill some time.

As debuts go, this is fairly solid stuff, but it’s hard not to feel that Real Life should be so much more than the sum of its parts.

It is the sharpness, leanness, and absorption in detail found on Howl that combine to make it a success. It’s not impossible that it could ultimately out-shine a lot of the bigger names it has been pushed up against this year.

What is arguably Joanna Newsom’s most consistently outstanding record to date.

Brash, wearyingly loud and very funky, As If certainly isn’t lacking in emphasis, but will likely disappoint if you’re searching for a little more.

The reliance on the atmospherics created by synths, pounding basslines and heavy guitar passages added considerable weight to these songs; when you take all that away, it leaves a hole.

Those seeking the mellower vibes of his earlier work may be slightly less enamoured with VEGA INTL. Night School, it’s undeniably a record that’s confident, intelligent and above all, fun.

From a songwriter of this calibre, a maven of the lyrical barb, it might seem odd that an almost wholly instrumental album should stand among his most compelling, entertaining solo work, but British Nuclear Bunkers is exactly that.

This is a confident, vital and highly uplifting record.

Fading Frontier is probably Deerhunter’s fourth best album. It’s still an excellent record, but it’s just ever so slightly underwhelming.

A record unlike anything else you will hear this year.

Whilst nothing on The Light Of You is quite as sumptuous or ornate as the best moments on Deserter’s Songs, it does demonstrate that Mercury Rev are a band still able to engage the senses.

Beach Music will almost certainly push Alex G into the wider consciousness, and rightly so.

Hurts can do--and have done--better than this.

There is nothing especially wrong with it, but it hits the middle ground all too easily, sounding like Home minus the guns-out anthems and the hands reaching for the sky.

RUFF will win no prizes for compositional elegance, but it’s never boring.

From the haunting atmospherics to the ‘80s soaked electronica, there is much to love about the album. Those looking for the band that first appeared in 2002, however, will be disappointed--the traces are almost completely gone, so it’s time to accept and embrace the new Editors.

If John Grant never feels the need to write his memoirs, it’ll be because they’ve been played out for us over the course of these three brutally frank, flawed but ultimately human albums. Never less than enjoyable, the next chapter is bound to be worth the wait.

They’ll need to be a little more adventurous next time around, but for now, they’re in fine fettle.

Warm, melodic and acutely observed, Cradle To The Grave is a convincing return from two of our very finest songwriters.