By the end, Lost In The Dream is similarly as sprawling and textured as its predecessor, harnessing the affirming, heartfelt sentiments without becoming corny or meek (mostly).

The saturated levels of Scandinavian pop and the mounting pressure on such artists' first albums all could've worked against Karen Ørsted here, but No Mythologies To Follow remains dynamic and expressive enough to work past these blocks and hint at very, very bright things.

An uplifting and varied listening experience, if only some of the other tracks didn't have a habit of passing you by.

Each of the ten (plus one bonus) tracks has earned their place here and sits on the tracklisting proudly as such, leaving none of the excess that sometimes plagued their earlier releases.

If The English Riviera was a lovingly weaved ode to a vibrant utopia, Love Letters, its predecessor and Metronomy's fourth full-length offering, is a return to the same shores, but under much darker skies.

There's an occasional human misstep reminding us that these aren't robots churning pristine pop, and that they can concoct foibles, but there's no reason we can't just sweep those issues under the rug. It's easy to overlook any small faults, as the rest of the record is so damn glorious.

It may not be as bold or as striking as TRST, but as a solid sophomore release, the band has definitely gained our trust.

Electric Balloon may be a gamble in more ways than one for the NYC nostalgic collective, but it's one that reaps far more than it sows.

Like Janet Jackson's Control and Madonna's Ray of Light before it, here is a record that should act as a shining light of how pop music should be done.

It's unabashed, unrepentant, contemplative when it needs to be, volcanically in-your-face the rest of the time.

It's certainly an album that takes a little work to crack, and that work centres around Asbury's unique vocal performances.

Ghosts Of Then And Now is a rich and dynamic listen, threaded with a strong sense of purpose that's wonderfully engaging.

I can't work out what the bloody hell he's on about half the time but there's some kind of of authenticity dripping from every verbal bark and echoey guitar jangle, every driving bassline and intelligent whack of the drums.

It's a pity they remain slavishly committed to a successful template and too often Atlas feels like a memory of a memory.

Its consolidation of antiquated and contemporary music is generally inventive, occasionally poignant and always entertaining.

Inspirational work, yet again.

Make no mistake, Oxymoron is rather brilliant, and provides a perfect foundation to build upon in later releases. An exciting release from an exciting artist.

BBF's effort may not be anything ground breaking, but if you're looking for a solid mix to vibe out to, this could be just the ticket.

From the haunting '422', with its echoing chimes, to the dark electro-pop of 'Out of the Black' which features a great guest vocal from Robyn, there are too many stand out moments to take in in just one listen.

There are some tracks here which are absolutely the best in their class, but it's just a shame that as a whole the collection is weighed down by moments that don't shine as bright as others.

It encourages you to empathise with the subjects of the songs, and therefore adds some light to the melancholy. It scores highly because it weaves all these scenarios and tales over subtle yet richly varied music. For Mark Kozelek this is yet another career highlight.

On their past albums Wild Beasts have shown us their savage and raw sides, which have been gloriously charming and exciting, but by opening up on Present Tense and revealing their true hearts, their music has ascended to new heights.

Every element of Close to the Glass feels like it has been minutely polished; like the workings of a miniature pocket watch, it all feels succinct, gleaming and fresh.

All Love's Legal is the kind of record that reaffirms your faith in the power of music.

It is shocking, it's exciting and it doesn't attempt to give any easy answers or clues as to its real intentions.

It's clever, sure, but it's high-grade, pedal-hopping rock music by the same token.

It's an album that, despite its placement more as high art, isn't afraid to embrace pop music for everything it's worth, managing to be accessible while also challenging, drawing the listener in with familiarity to then unleash upon them this cryptic, paradoxical world that just begs to be explored over and over again.

Their labour of love, You, shows dedication, unencumbered enthusiasm and an eye for detail that perhaps under scrutiny of millions would not exist. Put simply: it's pretty bloody good.