This is a worthwhile purchase for any David Gray fans, but for everyone else the world just keeps on turning.

The album experiments and draws on a number of electronic genres to bring together something that is at times mesmerising, even if it doesn’t always hold perfectly.

Most of these ballads are in the middle of the album, which drags it down somewhat, so it’s a blessed relief when Pharrell returns to produce the excellent Runaway.

Lizzobangers is a triumphant album by an extraordinary artist and woman, whose girl-empowering lyricism and social consciousness puts her at the top of the underground and alternative hip-hop community.

The noisy production doesn’t fall into the trappings of obfuscation, and with more adventures in the world, Dub Thompson should iron out the flaws of their debut into a more conceptually realised sound.

It may not be an album you’ll come back to again and again, but it shows off a refreshingly different side to Alexis Taylor.

Certainly there’s something mystical at work here, but, as with the rest of the album, the real fun is to be found when fully immersed in these hypnotic grooves.

There simply isn’t enough variation, with the overwhelming presence of Righton’s one dimensional vocals lacking allure after a few tracks and the invariable electronica also doing little to excite or surprise.

Although it will undoubtedly be adored by Kasabian’s fiercely loyal army of fans, to the unconverted 48:13 sounds like a band running perilously low on ideas.

On balance, Ultraviolence is ok, tending towards pretty good. However, there is a nagging wonderment over exactly where Del Rey goes from here.

The album’s probably better than expected, so it’s somewhat of a disappointment that the band haven’t been encouraged to recreate their main strength, the brilliant electricity generated by pulsating live shows as their music builds into euphoric peaks; too often, the production strips away the potential majesty.

It doesn’t have the timeless quality of her classic material, but it’s good to have her back nonetheless.

As an example of Boris at their best, it’s hard to top, but this is an album that finds the band in particularly rude health. Noise never sounded so good.

Poignant, lush and beautifully played, this is another predictably wonderful record from The Antlers.

Greys need be a little more subtle in their own palette. It’s a great noise, just not yet a great sound.

It’s catchy, perfectly executed, and succeeds in both honouring the better aspects of a much maligned scene whilst also sticking two fingers up at the horrific ideologies that still populate it.

Sartain’s songwriting (and choice of covers) is superb throughout, and the album is immaculately sequenced. But that’s not really the main appeal of this record--the appeal is that it’s eclectic, and that it’s funny.

Lengthier drawn out psych-jams similar to TOY could be one direction that would be an improvement, as would the addition of a guitar maestro, but without a special ingredient you can’t help but feel The Proper Ornaments will sadly find themselves consigned to granny’s shelf too soon, a fact you desperately don’t want to see happen, such is the potential hinted at throughout.

Even for all its collaborations, bringing in Mary J Blige and R Kelly, the desperate skirting around for identity leaves this album feeling underwhelming.

Vek finishes the album by challenging whoever will listen. It’s a challenge worth taking on.

With its innate sun-necked nature and social atmosphere, despite its throbbing introspection, Stay Gold is perfectly poised to knock you for six this summer.

The Fresh & Onlys’ most cohesive record yet, House Of Spirits doesn’t break any new ground or take any unexpected detours, but rather solidifies their position as the foremost new-wave revivalists around. Read more at http://www.musicomh.com/reviews/albums/fresh-onlys-house-spirits#cdqLV5AbrbDVF9DB.99

Buzz’s riffing and attack give the songs enough personality to sound individual and prevent the album becoming an analogous mess.

Lazaretto is an album of singles--it’s also a pretty revelatory record of healing and perseverance for White--that bounds rapidly through America’s South from the ’50s-’70s. It’s another great side to White, and another feather to stick in his pretty feathery cap.

It’s done in quite a straightforward and simplistic way, which Mould has acknowledged himself. Nevertheless, it’s very effective and poignant.

What’s most impressive about Black Hours is how Leithauser can bounce from one style to another without disrupting the flow of the album.

The majority of Heartstrings is the stirring return to form that much of us had hoped for each time Howling Bells released a new record.

Strange Friend is a tight, concise and incredibly satisfying listen with the right mixture of familiarity and progression. Read more at http://www.musicomh.com/reviews/albums/phantom-band-strange-friend#XfgsSdbaV2H9zOTz.99