Wrangler make vibrant, organic electronic music that respects the genre’s history while turning a fresh page.

It’s powerful stuff, still wholly worthy of “10 fucking stars”.

Crowell continues to stake his claim as one of the genre’s most learned and accomplished performers, and if there is a gripe it’s that, at 11 tracks, the party’s over way too soon.

There’s a fine college-rock jangle to The Beat’s Save It For Later and some fab California-kissed harmonies on XTC’s Towers Of London.

Mixing up the correct dosage proved tricky, but, to Berry’s credit, Music For Insomniacs reclines on a perfect plateau: chewier than your workaday (workanight?) ambient dribble, but not so rich with incident that you’ll sit bolt upright.

A long overdue return, and well worth the wait.

The works of a mature band with a confident mix of musical hooks, earworm choruses and a direct beat.

While not quite equal to its predecessor, Divide And Exit offers plenty to get your teeth into.

There’s a gleefully brash use of whatever’s at hand that recalls the one-man-band approach to his solo debut, Yr Atal Genhedlaeth, but American Interior is also a far better exploration of Americana than Super Furry Animals’ Love Kraft turned out to be.

Producer Glyn Johns captures a laconic, organic vibe throughout, aided by such top-notch players as Ryan Adams, Gillian Welch and David Rawlings, on an album that oozes good taste and effortless class.

PUP’s ability to enliven a tired genre with an abundance of ideas and exuberance is a small but exceptional feat.

To put it bluntly, it’s the sound of REM album tracks circa 2001-2008, only with a less interesting frontman and a lyrical conceit that can often exclude the listener.

Throughout, they’ve remained a surprising and, more importantly, single-minded unit.

Occasionally, the rhinestone pop of Carter’s earlier records sneaks into the mix, but for the most part this is a cheery celebration of the old timey tunes she remembers from when she was knee-high to a sharecropper’s shin.

The first [half] sees Adams’ spectral vocals go up against a furious string section, while the second is reminiscent of Joanna Newsom’s work with Van Dyke Parks. It’s all interesting stuff--albeit with a predilection for the twee--but may be a little much for some listeners to take in one go.

A great record in short and well worth hunting out.

A solidly satisfying set.

At just 10 songs Do To The Beast is concise and enjoyable, but doesn’t have the cohesive energy and poetry of its predecessor.

It all makes for a low-key effort, which sometimes showcases the band’s skill at crafting neat, 21st-century pop, but all too often fails to spark into life.

Hacke and Picciotto narrate with unwholesome relish.

Despite highly effective stabs at afro-jazz (Kingdom Come), highlife (One Life To Live) and salsa (the fiery Agoya), it’s on the spiritual jazz numbers that the band really come into their own.

This is a master craftsman at work, without bells, whistles or any other gimmicks. True country classicism.

The whole thing is delightful, as compelling as the artists celebrated by Flint’s finest

It’s easy to be cynical or apprehensive about “lost” tracks resurfacing years later, but there’s enough A-grade material on Out Among The Stars to make its belated arrival something to celebrate.

The pace rarely drops and, at points, the noise and structure is, indeed, messy, but the whole is punka focused collection with a bloody-minded, if also bloody-nosed, vision throughout.

Goodbye Weekend sees DeMarco take issue with his critics, particularly the way his sometimes bizarre live shows have been reported. On this evidence, his talent should be celebrated. Salad Days, indeed.

Indentations is the pleasing exception. A slowed down, emotionally visceral tune, it demonstrates that Manchester Orchestra have a real breadth in their songwriting.

Back in 1970, this must have sounded like music from the future--over 40 year later, it still does.