At least once they had a snappy poetic sensibility and an admirable interest in history. Unfortunately, now they are pure turgid Americana pastiche.

There are sparks of brilliance on ‘Love, Death & Dancing’; Garratt’s multifaceted talent is undeniable and his honesty is admirable. But, please, less is more next time.

Occasionally devastating, often outstanding.

Sonik Kicks is the sound of Paul Weller growing old the only way he could--not particularly gracefully, but with no small amount of style.

Songs like ‘No Simulation’ and ‘Red Flags’ bring back her ethereal, brooding signature sound, too, while others serve as little pick-me-ups for when you need to switch on. But, this record doesn’t weld these two sides of Tinashe successfully. There’s still a way to go before she finds her sweet spot, but this is a fun stepping stone along the way.

Simple, unruly and riotously fun.

Everybody Down brings to life a plotline that’ll be more fully explored in Tempest’s debut novel, published by Bloomsbury later this year. It’s hard to imagine it being more gripping than this, though.

So strange, it’s fantastic.

In what might be the biggest compliment I will pay any band this year, the thing that the album most reminds you of is the medley on 'Abbey Road', in the sense that it's hard to pick out individual 'highlights' in what is an endlessly evolving collage.

This band surf the cosmic channels of krautrock, cruising along on motorik beats, waving at pals The Horrors and tipping their hats to Syd Barrett as they chug through hypnotic, psychedelic pop songs.

By giving a wide berth to the safety of the post-rock label they've long despised, Mogwai have recorded some of their finest songs since "Mr Beast."

CA7RIEL & Paco Amoroso have described ‘Free Spirits’ as “complex, fun, honest, with a little bit of everything” – and sonically it lives up to its name, revelling in being unconstrained, even if it’s lyrically all over the place.

The descent into indie R&B anaemia on 'Animal' is less exciting, but otherwise, drenched in field recordings of whisked eggs and jangling bracelets, this album is an imaginative and accessible bout of boundary-crushing.

At times, it's too lovely and woozy for its own good--but when the mood sours, as on standouts 'Devil In My Mind' and 'Erie Lackawanna', it's really rather intoxicating stuff.

Largely, this is a set of songs that seep, creep and grow in strength, like opener ‘Aladdin’, ‘Time On Her Side’ and ‘Cave’.

The album shines with crisp production, a dynamic of extremes and Aurora’s unflinchingly confident performance and message.

Overall, there’s enough rock star swagger here to live vicariously through, and the sense that the Joshua Tree party will ride again for years to come. So crack open that fancy bottle and let your hair down.

Even the most hardcore disciple is likely to get something they might have missed before. [21 Oct 2006, p.35]

This is the sound of a cleaner, smoother Nine Inch Nails, one that delights in complexities of rhythm more than caustic blasts of rage.

Too many songs blur into the next (‘Interlocking’ and ‘All Out of Catastrophes’, to name just a couple). Perhaps it’s due to Nadler’s dependence on certain vocal patterns and a no-frills, three/four guitar chord approach. Simple song structures aren’t to be scoffed at, but trouble lands when things become a little too predictable.

Overflowing with stately songwriting and lyrical craftsmanship, How Big, How Blue, How Beautiful makes for a restrained but joyful return, and a collection that will last long after Welch’s broken bones are mended.

New is the sound of an old dog having fun with some old tricks.

'Idealism' is dusted with the kind of metallic house glitter caking LCD's 'Sound Of Silver', and, just as promisingly, the title track could have been carved from Daft Punk before they decided they were human after all.

It is miles better than 'Innerspeaker', and quite possibly the best album released so far this year.

A standalone success that also whets the appetite for Fuck Buttons’ return.

The lead single has been switched more times than a Sugababes member and the tracklisting has been mercurial. But, oh boy, was it worth the wait.

The resulting album is a heartfelt set that showcases the 42-year-old singer and pianist’s elegant style.

Kiss Each Other Clean is a surprising and majestic triumph.