Trouble & Love is perhaps her most thoughtprovoking set since 2005’s Mercy Now, full of literate musings and believable characters.

Taken as a whole, the album recalls the literate elegance of 1993’s Kindness Of The World, albeit with more sharply observed snapshots of the nuts and bolts of romantic relationships.

Sure, there’s a mildly preposterous, posturing axe-warrior in there, but it’s tempered, often joyously, with a self-mocking feminine side here, and makes for some of his most carefree but considered music in a very long time.

[Opening track Low Season is] a bizarre blip on an album that fans will lap up.

While you can’t draw a direct line from PT to Anathema, Steven Wilson’s hand is in some of the mixes, but, by standing on the shoulders of giants, bands such as this one have themselves become gargantuan.

Await Barbarians largely sounds like a sketchbook, or even an EP, with Taylor working through ideas.

Another big step for Silberman and required listening for any Americana aficionados.

The radio-friendly gene appears to be lacking entirely from their approach, and as a result the album is among the most immersive listens in some time.

Considered and ambitious, Tincian fittingly sounds like it comes from no time at all.

In one sitting, Dudeblood might seem wilfully esoteric, with recording levels and musical styles as scattered as they’ll be in Sartain’s 45 box. But that’s always been his style, and it’s ultimately the greater part of his charm.

The Reckoning sees Johns sounding comfortable in his own skin and making a quietly accomplished record.

On occasion, the bare bones, stripped-back effects don’t serve the songs quite as well... Still, this should delight the distorted ears of Melvins followers, though they may need to get used to turning the volume up, rather than down.

A master craftsman at work, saluting the sounds that have stirred his muse down the years.

On the whole, Woods have produced an inviting, communal listen seemingly designed to soundtrack lazy summer afternoons.

With a smooth, olde worlde sound, appealing melodies and impressionistic imagery, the album, at best, conjures up affecting vignettes and, at worst--Giant’s Rolling Pin, about the NSA/Edward Snowden affair--borders on the twee.

Packaged with some afterthe-event boisterousness courtesy of Neil McCormick’s sleevenotes and a sprinkling of mythologising, Definitely Maybe remains classic enough.

The music simultaneously remains as era-defining, self-effacing, future-thinking and retro as it ever did.

Nightclubbing still sounds like nothing else released during the 80s, though its colossal influence repeatedly reveals itself.

The GOASTT wig out like shamen throughout Midnight Sun.

10,000 Maniacs fans may yearn for the simpler music of old but, sad to say, given the effort involved, uncommitted listeners will simply shrug their shoulders.

Much of the material is by-the-numbers mainstream pop-rock, which is why the mesmeric Latin jazz groove, Yo Soy La Luz, featuring saxophonist Wayne Shorter and Santana’s drummer wife, Cindy Blackman, stands out.

The lack of personality is most strikingly felt in Kim Deal’s absence.

The lack of a decent thread means that, while Revelation has some undoubted tunes, it remains an awkward overall listen.

While it believes it’s a storm of Ocean Rain-esque majesty, Meteorites fizzles out like it’s just another shower.

The quality of the songs is uniformly excellent, the performances electric and, moreso than ever, Holland’s vocals are a drawling, tightrope-walking treat as she veers between lust and heartbreak with real abandon.

On the whole, for an artist so spectral and kaleidoscopic, Upside Down Mountain is a pretty sweet ride.

A richly rewarding set from a songwriter growing with each release.

His finest achievement yet.