This majestic medley of eight 'exercises' is a fine display of creativity, where morphing piano loops sound like the modern classical of Philip Glass honed into a structured formula.

The overall feel is of a semi-fascinating compilation album, making Tall Ships easy to appreciate but very difficult to love.

A fully realised work of intellect and warmth.

Irrespective of genre or decade, 'Rispah' is an astonishing tsunami of emotion which above all, makes you feel alive.

It's the frontloading of moonstruck, airy pop songs that make this album worth your time; snobs who ignore 'True' will simply be wasting theirs.

As with Real Estate, producer Kevin McMachon has coaxed the wispy dreaminess of an excellent debut into a progressive, immersive successor.

A comforting return to the hazy psychedelia and laconic 1960s bohemia of prime BJM, only now with added eastern twinges.

Another twelve inches of brilliance.

Solo Piano II is an enraptured performance but, unfortunately, it's not always an engaging one.

It’s intimidating at first, but once your eyes acclimatise, you’ll relish joining them in the shadows.

It’s undeniably a slacked out soundtrack for dopey wallflowers everywhere, but Unreal is also a surprisingly progressive affair that speaks to your soul.

No new tricks, but there's life in these old dogs yet.

A spectacular, modern take on a classic, timeworn formula.

Their debut is yearning blog-pop, which might be a bit ‘2009 called...’ if songs like ‘New House’ weren’t just as sharp as their 80s, sax-ballad ancestors.

Overall, this is a daring, dynamic and dramatic debut.

Shulamith picks up pretty much where that album left off, mixing elements of yacht rock, soul, hip hop and dub into a smoothly melancholic whole--but at times Leaneagh’s vocodered emoting makes you wonder if this isn’t just Dido for the blognoscenti.

The potential for unfocused drudgery could've been huge, but they've sidestepped far enough to create an involving and endearingly creepy work.

On An Object, their blissy ambient tinkerings finally feel earned and essential.

It's a head-swirling selection of the swankiest electro, techno and house, plus silky soul from Blood Orange, geo-political pop from Condry Ziqubu and howlin' funk from Gospel Comforters.

A coy, slow burner, it doesn't kick off properly until its latter stages.

Mis-steps like the sticky Santana-worship on 'Hanuman' are far less palatable, but when the combinations match up, it proves exactly how impressive this band have become.

This is a missed opportunity, but it's commendable that when both parties are not at their strongest the results can still satisfy.

AlunaGeorge are a pop act at heart, with most of this debut’s songs anchored to a radio-friendly chorus.

The studio remains the band's fourth member and their wind-tunnel intensity is a constant. The compositions are more focused this time round, however, while quiet-loud dynamic shifts are more arresting.

Oozing more nihilistic youthful abandonment than anyone since Black Lips, their manifesto sounds pretty appealing from here.

If you like the idea of blog occupants such as Washed Out and Neon Indian but want to take the hazy filter off their Instagram souls, then 'Gone' could be for you.

By turns, If You Leave is word-in-the-ear intimate and mountain-range massive.

This is Peace using 90s sounds to channel that decade’s optimism into something positive for today.