Fortunately, all these madcap tangents pay off amazingly, and we’re left with a sublime, varied LP that’s a perfect accompaniment to the impending sun-pecked skies.

The folk elements lend Sylvan Esso a calm, and a daytime splendour, but Sanborn’s dance-oriented production, especially on the more electronic tracks, are set to be perfect 2am jams. This LP is the complete package.

While what Clean Bandit are doing is incredibly interesting, it’s probably premature to say that they’re harbingers of musical enlightenment. They may, however, be the heralds of super-duper/boogietacular parties across the summer.

They managed to produce a collection of songs perfect for the summer months [in second album, Cave Rave]. The same could be said of Spreading Rumours, which is another album that could just as easily provide the soundtrack to Summer 2014.

Some will find A Letter Home something of a gimmick and it’s hard to see it being anything other than a peripheral addition to his substantial catalogue.

Overall, Galore has some fantastic moments, but remains a thoroughly uneven release with some serious thematic flaws that Thumpers will hopefully iron out by their sophomore album.

A passable release that’s half what you’d want and half what you’d rather forget from a Guided By Voices album.

They’re unequivocally, without question, 100% no longer a promising band to watch out for. Instead they’re an essential band to love.

All in all though, Meteorites is a decent, if hardly vital, album from one of this country’s true national treasures.

It’s universally accessible, and it’s the kind of pop that has the potential to dominate the charts and win over hearts during festival slots.

It has little in the way of variation, even less in the way of optimism, but feels completely whole despite that lacking.

The Moon Rang Like A Bell is a triple-jump forwards for Hundred Waters.

There’s more than enough contained within to confirm Butler’s genius at resurrecting the early spirit of house music. This will be the soundtrack to many a party over the summer months.

Do It Again isn’t as downright amazing as it could have been, but there are far more pros than cons.

Ultimately, Haines has once again succeeded in producing a surreal, engaging and magnificently wry collection of songs that provide a satisfying conclusion to his concept trilogy.

The Sunshine Underground has managed to take the band’s signature big hooks and beats and transform them into something bigger and more relevant, Orton’s contribution a key aspect.

What King Of The Mountains manages to achieve isn’t particularly new but there’s a fair amount of admirable craft going on that doesn’t come across as too robotic or synthetic. But it feels too safe, and lacks cohesion and structure.

Lion City is a strong, viscerally stirring album and a true highlight of intercultural awareness in the contemporary music climate.

The record is a captivating and challenging insight into the mindset of an intelligent artist who is pushing himself further than ever before, taking his music in new and fascinating directions.

Ghost Stories is overall a confessional and, as such, you definitely won’t find many anthems a la Every Teardrop Is A Waterfall or Viva La Vida. But you do get a short and sweet nine-track exorcism of demons and one crushed dude who knows how to pen some beautiful, infectious ballads.

There is a epic scale to many of these tracks, and there is also an underlying and undeniable sense of violence. Yet curiously Aurora is also one of Frost’s most accessible and positive sounding records, and one of his most metallic and industrial efforts to date.

Surely satisfying to an unknown (but tiny) demographic, this record is instantly likeable, but it’s also just as immediately forgettable.

Where Newcombe continues to find inspiration from, who knows, but the music still keeps on coming. And the world is a better place for it.

There are new tricks in these old dogs yet.

It is, perhaps, a measure of Wrangler’s combined abilities that they’re able to coax their formula into subtly-defined shapes and guises without LA Spark descending into repetitious indulgence.

It is certainly worth investing raw, unprocessed time in exploring.

Tempest’s lyrical dexterity and writing skills are phenomenal, no matter which way you look, and though some will be put off by the exposé offered here, others will be enamoured.

Yes, Heaton’s Rolls Royce analogy is a good and accurate one. The engine purrs again.