'Bavarian Fruit Bread' represents a towering piece of morphine-induced self-indulgence.

A little more variation would have been nice, but you know what they say about stopped clocks.

Music theory waffle/spiritual musings aside, this sees the pair expand their austere template with new instruments and ideas to great effect.

Whipping up a surplus of creeping, insistent sophistication--climaxing with ping-ponging head-wrecker 'Aspic'--you can once again envisage techno overlords such as Sven Vath dropping SMD, rather than daytime radio DJs.

s. The result is a delightful tribute to The Beatles and a record that has made so many turn on, tune in and drop out.

It's nothing if not infectious.

These ten tracks come with such an earnest passion for the timeless pop form that any snobbery is punctured with an arrow drawn straight from Cupid's quiver.

Seven albums in and Tom Rowlands and Ed Simons might no longer be raving on the most future-facing side of dancefloor, but their way with an effortless arms-in-the-air banger is undisputable.

An authentic graininess permeates In Camera, like you're listening to the whole thing in sepia-tone - from the coy country call-and-response of 'Come to View (Song For Neil Young)', which could have soundtracked a Jane Fonda film, to the lolloping 'Afterglow', and tambourining of 'Lion's Mouth'. Lush.

The tracks have separate names but they're really just one whole impressive piece, about as far from Sheeran as you can get.

Simply put: an album stuffed with great, joyful songs.

Sure, the two slower tracks might make for a break in the relentless pace, but who needs the rest? If you just so happen to be one of the best in the up-tempo pop-smattered emo-punk game, why bother slowing down? For this lot, more is most certainly more.

Serene on the surface, but disturbed deep down.

When they deviate into a treacly world of dub and shifting tones (‘The Channon’), there’s still a lineage, along with an identifiable personality.

Few bands could explore motherhood and terrorism without making you want to shoot them: Corin Tucker's electric-shock voice and the adrenal guitars make them as essential pop topics as schoolyard crushes and backstreet drugs.

The Pirate's Gospel is a campfire folk gem perfect for the summer festivals.

Ultimately the confusion and convolution is all part of the charm on this adventure into a world of history and imagination. It doesn't hit the peaks of 'Stainless Style', but is still a record worth investing time in.

Noise music has been content to let its harsh aesthetics do the talking alone for too long; with Laced, Whitehurst has challenged that paradigm.

Micachu brings all her talent for earache soundz to bear on 'Violina/Bread Before Bed', while 'Shapeshift', the collaboration with Hot Chip's Joe Goddard, might just be the best electro-hop banger since Roots Manuva's 'Witness (1 Hope)'. Which is weird, 'cos the UK rap don also turns up for a spot of Cameron-bashing on 'Capsize'. Tasty.

After all these years, he's still got it.

The key word is ‘almost’, because what could have been mawkish and naive is instead deliciously raw, an album for when all else fails.

Downbeat dinner parties, say hello to your new soundtrack.

Submissive this is not.

Efterklang’s first release on the legendary 4AD label is packed full of immediate melodies and soul.

There’s so much packed into these 15 lush, context-evading songs, though, that map references are pretty futile.

All in all, this isn't an album you can listlessly slam on to get yourself ready for a night out, but it is a satisfyingly rich project.

Head for Home if you want to hear where drum'n'bass, dubstep, garage and old-school jungle meet in 2013, but really just pick it up if you're looking for more bangers than a barbecue at a firework factory.

A mind-tweaking knees-up in the second-chance saloon for Fox.