British Road Movies comfortably flits between exhilaration and devastation, with the production careful to mimic the song’s subjects. It’s an album that firmly points Jackson in a new direction, allowing her to flourish on her own terms.

The sound overall holds the germ of the sort of ominous, steady-paced material that goes over well in stadium support slots.

There’s the odd filler track, such as Phantom Bride--an experimental shriekathon, which even guitar parts from special guest Jerry Cantrell of Alice In Chains can’t save--but those aside, Gore is an album with the depth and emotional range that Deftones fans have come to expect.

Alas Salvation is defined by being undefinable, and thrives off the surprises it delivers over its 40-plus minutes. If the execution isn’t perfect, it nevertheless reveals a scope of ambition that should serve the three-piece well further down the road.

Take your cues from Twin Peaks and find solace in their best effort yet.

It’s warm, rewarding and a very, very comfortable listen. And therefore definitely not pysch.

Their previous album Tincian revolutionised new Welsh language music and won Best Album at the BBC Radio 2 Folk Awards for its troubles. The follow-up is equally as dark with a dystopian edge that suggests we’re all doomed. Yet there is a salvation of sorts in the band’s glorious three part female harmonies and in lead singer Lisa Jên’s centrifugal force-of-nature presence.

Shauf’s musical ability is impressive, tackling all but the strings, but his vocal tone, much like a bore at a party, is unwavering, Elliott Smith-esque and never with the variety you’d expect meeting 10 new individuals.

Their best album in some considerable time.

Another fautless collection from Nadler, fast becoming one of the most distinctive voices in American music. There’s comfort in melancholy, as someone once said.

While producer Tucker Martine provides inspired, inventive backdrops, Blau’s powers of interpretation make these familiar songs (To Love Somebody, No Regrets etc), very much his own; an unexpected marvel.

Summer Of ’13 is a welcome changing of the guard from an occasionally miserablist stalwart and hero. Disregard it at your peril.

It’s by no means intended as a “greatest hits” package--you may rue the absence of ringers such as Warm Leatherette or Do The Mussolini (Headkick) – but as a snapshot, you can’t fault its clarity.

A Splash Of Colour will resonate most with those who frequented the Groovy Cellar on a Friday night. The rest might find that three discs is an overdose.

Baird has created an album that moves flawlessly from ruby to flint to kaleidoscope without breaking.

It has all the majesty one expects from the contributors, and all the ingredients that one expects to result in its pieces being used for indie film soundtracks and the like.

In the now vastly-populated electronic marketplace, this is an album well worth investigating as an example of passionate scientists adding the music’s past immortal strategies to the planet’s ever-buzzing soundtrack to take it proudly into the future, rather than contenting themselves with replicating hoary old blueprints.

Much of it, admittedly, treads familiar, fanbase-appeasing ground, though the beautifully-crafted, Jeff Lynne-esque Losing It has broader mainstream potential and even the uninitiated are advised to heed the title of the atypically graceful, string-kissed Come And Listen.

Following austere lament Ruins is the album’s final track, Death of the Ego. Calmingly sparse, its dignified strums bring to a close an album of great sensitivity.

Beautiful, dark and mischievous, this is an album which is sure to baffle and delight in equal measures.

McCombs’ work can be a stylistic patchwork, charming and sparkling in its variety. But across what it’s fair to call just 10 tracks, and with an over-arching theme, it feels constrained, perhaps waiting in the station.

There is plenty here to remind you of their previous triumphs, as well as those of similar labels such as Estrus and Crypt.

Musically, TROUBLE grows more assured as it goes on.

While most tracks capture the hell-for-leather energy and countrified cruises of the Waco Brothers’ renowned live shows, the album also enjoys diversions such as the early Rod Stewart-like ballad Orphan Song and an unlikely but spirited cover of the Small Faces’ All Or Nothing.

The sum of these parts is utterly energising.

With Silent Earthling, TTT present a nuanced and more muscular version of their sound.

The lyrics are--as ever--a highlight.

The change of scenery manifests in the album’s wider sonic palette as the trio embrace classic pop (Down Down), garage-rock (Had Enough), surf punk (Watch Your Back) and even resemble a grunged-up Heart on Perfume.