It’s a record that follows in the footsteps of its predecessor, offering up melodic psyche-pop numbers in which walls of sound are daubed with deceptively dark lyrics.

If you fancy a slightly off centre alternative to the mass appeal of more prominent electronic bands, despite a few wobbly bits here and there, then you won’t go far wrong with giving this latest collection a chance.

Escape From Evil feels like a case of one step forward, two steps back.

The Prodigy are doing a lot of shoving, but little in the way of solving the problem they’ve identified. If they want to be considered as important as The Sex Pistols, they’ll have to do rather better than this.

Föllakzoid carry forward both traditions in their own uncompromising way, and with III they deliver their most polished album to date, and their most coherent statement of how they relate to their forebears.

Chilly is on to something here, with a collection of small-scale musical postcards ready to charm anyone lucky enough to receive them.

This music emphasises an unhurried, thoughtful approach to life that is beautifully at odds with the noise of a bustling metropolis in a General Election year.

He has bravely laid his songwriting gifts bare in their purest form.

It is an album that both looks back and innovates.

Ultimately, Chaos And The Calm is a solid, if unspectacular, first effort from Bay.

A satisfyingly down and dirty album that works up a sweat reeking of the Big Apple.

Primrose Green may not be the most original of statements, but it definitely amounts to more than the sum of its parts and there is the lingering impression that Walker is only just getting started.

There is more to Short Movie’s context than odd details, avant garde references and the philosophy of hippy shamans. Marling has long been able to trace a musical lineage back to heavyweights like Neil Young and Joni Mitchell, and this is cemented here.

Those expecting freedom and discordance may come away disappointed, but this is, none the less, a driven and impressive album from a band in fine, but different, form.

Complete Strangers is one of those collections where over the course of several listens each song enjoys time as being considered the highpoint of the album only for another track to supplant it soon after. Whisper it, but Vetiver may have just made one of the albums of the year.

It all means that Sometimes I Sit… is a likeable, enjoyable album rather than a great one. Barnett has written half a masterpiece: let’s hope that, next time round, she can complete the job.

Lease Of Life succeeds in being every bit as bold and accomplished as its much touted predecessor.

At times feels too regimented, leaving you wishing that he would just relax a little and drop the self-consciousness that gets carried along through the tracks.

A stunningly gorgeous-sounding album which should see the three talented sisters move up to a whole new level.

Their previous albums were exercises in fuzzed up, energised sonic assault, and whilst Fantasy Empire is no different in terms of attack and intent, there’s a clarity to it that makes it more effective.

Fans will be relieved that after such a protracted labour Strangers To Ourselves has emerged in surprisingly good shape, even if it lacks the robust conviction of Modest Mouse’s best work.

If it’s not especially the place to come to look for surprises, it’s still heartening to see that, at an age when most people have happily settled into their Saga Magazine subscription, this sonic surfer has still got the blues.

The problem with Little Neon Limelight isn’t so much the quality of the songs, as they’re generally an intriguing bunch. It’s that it could be rather too eclectic a collection to listen to in one sitting.

More often than not you do wish another eternity was a little less slick and had a little more of the oddness and darkness which permeated Shrines in another eternity.

There’s a fresh energy and swagger about the Jarmans now, helped in no small way by producer Ric Ocasek.

This music is restless but keenly aware, finding common ground and intersections between a range of source material and contemporary contexts and, most importantly of all, delivering these songs with honesty, conviction and genuine feeling.

While his debut album sounded wonderfully effortless, this one feels effortful in the worst possible way.

Tracker may not quite reach the same heights as its predecessor--it features one too many misses for that to be the case--but it is another solid solo entry into his already impressive back catalogue and a record that Knopfler’s faithful following will undoubtedly delight in it.