This one feels much more like a group searching for a sound together, even if the sound once belonged in a Venn diagram linking Led Zep, Deep Purple and Dio-era Sabbath. And it rocks most periodly.

It finds the singer in meditative mood--this is, by some distance, the least playful Björk album--and, amid soundscapes made from tinkling harps and bells and deep electronic burps and farts, she's an uncharacteristically discreet presence, a humble narrator of the wider story she's trying to tell.

Pervaded by children's laughter, this is a lovely departure from the Mambazo norm, as befits the quest it reflects.

Their command of "neeeooow" noises suggests a schooling in retro rave, and their cover of the Jets' "Crush" turns the sugary original into something superbly sinister and stalker-ish.

There's a childlike sense of adventure and fun about his sampladelic approach.

Black Rainbows isn't all-out kick-ass noise but, by turns, spindly and fuzzy, smooth and angular.

Rocky's rhymes are believable when reminiscing about growing up poor.

Should you be struck by a nostalgic mood yourself, Oui Oui Si Si Ja Ja Da Da is a Madness album like they used to make 'em.

Either way, we get what we always get: the analogue rendition of a stick of Southern yarns, long on observation, short of syllable and rough as your old boots.

Impressive rather than engaging.

Here, Beam adds funky Stevie Wonder synths to the mix. And marimba. Lots of marimba.

A feast of vulnerable balladry with a political heart and, audibly, much surrounding air.

In the main, she remains stylistically faithful to the originals.

There's a master at work here and if he finds his filter he'll no doubt lose some of that fairy dust.

Isbell is an accomplished and serious songwriter and what keeps Here We Rest from being the stonker it so nearly is is not the writing but the slightness of his voice – and his band.

As befits a novelist, the songs are narratives concerned with the big issues. Life, death, that sort of thing. Good record.

It's all very gladsome, technically fine and will lift your day. But, as with all such heritaged musics, it won't make your day over. Pleasant though.

It doesn't always hit the spot, but at least he's firing at more interesting targets than the usual renta-rapper.

This has more bounce and sees Lovefoxxx & co close to their best.

It recalls MGMT before the wheels came off. Which is no bad thing.

Ersatz GB is a fine addition to an excellent recent salvo.

The voice (Joni Mitchell meets Anna Calvi), is as tough and tender as before but the music now acts as a bouncy counterpoint to songs with lyrics such as "death is a hard act to follow", blurring the line between unsettling and uplifting nicely.

Pretty lovable.

He wisely sticks to the spoken word for much of the album, whether delivering the sinister inner monologue of a stalker or a robot-voiced attempt to advocate Transcendental Mediation.

Tracks such as "Boiling Water" wouldn't sound out of place in a naff holiday resort. There are notable exceptions, though, such as "Fire" feat Ms Dynamite.

What matters is that the I Monster team have cooked up a production that matches our expectations of a League LP.

Consists entirely of tasteful campfire-folk covers of seasonal classics.

Tracks such as "The Bay" have enough to get heads nodding, but if you hear this on a dancefloor, it'll be courtesy of a seriously hard-working remixer.