It all combines to create an album that, even all these years later, finds them back on top form.

A record that takes the blues-rock of 2013 debut Sistrionix, rases it to the ground and rebuilds something for which the phrase “new and improved” would be an understatement.

Boys Forever goes some way to making things alright, under or above ground.

Anything But Words is the sound of two worlds colliding and finding a golden middle ground.

My Woman is an odd, somewhat mismatched collection of good and then great songs that could have been more ghostly.

Though You Can’t Live In The Past beautifully sums up his attitude and ethos, Fingers Crossed will be a worthy cherry to top the colossal, career-encompassing Stranded In Reality set when it lands soon.

Live... never drags, remaining furious throughout.

It’s experimental in a kitchen sink (including Chris Isaak) way rather than studied and arty à la Everything Everything. Too often, the results are a bit of a mess.

Producer Youth has described the record as Wobble’s “Miles Davis opus” and while that’s maybe a mite fanciful, it’s certainly a courageous contemporary fusion of afro-beat, jazz and polyrhythmic funk.

It’s arguably The Veils’ most complete and satisfying work to date.

The feel that McCombs as an “artist at work”, given carte blanche, is prevalent. Dreaded jams are not cut back, verses sprawling and unpruned. And despite this, his usual delicious chaos seems absent.

They remained off all save the hippest of radars, yet this exhaustive 80-track anthology incorporating their complete studio recordings and an exuberant bonus live set shows that they nonetheless amassed a fearsome catalogue.

Patience and resolve are required, for there are truly baffling abstractions. ... Yet when Davies knuckles down and crafts glorious, idiosyncratic pop such as Needle & Thread, the slow-burning Chills and vulnerable, Television Personalities-esque Beauty Queen Of Watts, he and his ad hoc Moles can burrow into the very deepest recesses of your heart.

One Day All Of This Won’t Matter Anymore is the perfect example of a band still moving forward, without losing themselves in the process.

Looking beyond the harsh aesthetic, Walker has created a score that is rich in texture and highly innovative.

The pretence of mental struggle can be artifice too and Bugger Me might be nothing more worrying than an eccentric art project. Either way, it’s a fascinating glimpse into an unusual mind.

Delt’s high voice and pretty 60s-harking melodies make even Phase Zero’s fastest-tempo track feel decidedly chilled. It’s not always clear what message these melodies intend to impart as many of them remain clouded in a fog of heady effects.

Sadly, Exploded View’s admirable commitment to spontaneity has resulted in a muggily-recorded LP which fails to match the usual high-quality post-punk output of the esteemed Sacred Bones label.

While Vulnicura Live may not cut quite as deep as Vulnicura proper, rest assured that it is every bit as breathtaking.

The songs don’t sink under any weight; they’re light and spacey, though even the scat Rainy Days has real substance. It’s a swinging saloon.

While Dâm-Funk’s singles and albums have established him as funk’s most forward thinking artist, his DJ sets have concentrated on classic 80s boogie gems. His entry into DJ Kick’s long-running mix series is less rigidly formatted.

With a voice that sits somewhere between Bill Withers and Dr John (a neat trick), this is soulful, raw and rasping stuff.

He lends his delicate, soulful voice to just one track--a delightful cover of Paul Simon’s American Tune--and the rest of the time is heard on piano. There are several unaccompanied solo pieces, including his own composition, Delores Boyfriend, which is rendered in an ornate style that encapsulates the New Orleans sound.

Neatly produced and performed to sound slick and punchy, Far From Home remains true to the calypso traditions of reportage, wit and joy.

So the album remains a solo project, despite the welcome input from Robyn on Hang Me Out To Dry. The duet hints at how human Metronomy can sound when more life is squirted onto their palette.

Command Your Weather is like a 40-minute bear hug from a band that peddle heaviness with heart and soul. Hurry up and get yours.

The 11 tracks, all originals penned or co-penned by Neville or Krasno, get to Neville’s very heart, placing his sweet voice in a gritty R&B setting.

With the forensic detail one would expect from the Elvis reissue programme, Way Down In The Jungle Room is the most complete and comprehensive collection of Presley’s final studio recordings ever assembled in one anthology; and very necessary it is too.