While there are some moments of genuinely engaging songwriting early on, halfway through the mix of styles and genres becomes confusing and incoherent, making it feel incomplete.

If you buy into Brian Fallon’s rock classicist worldview, Sleepwalkers is an enjoyable record. Just don’t ask for much beyond that.

The eleven tracks show little shift in the sisters’ sound, which remains as beguiling--or as infuriating--as ever.

It’s certainly the sound of the band taking a step forward and trying to find its feet, sliding a little on the frozen ground but still heading towards the sun.

The record doesn’t fully commit to a new direction, so its primary audience will still be Avett diehards, but it’s a fun listen for the summer and a testament to the brothers’ enduring success as one of the savvier folk groups out there.

Ewald’s writing is comprised of a number of observations that often appear fairly minor, collated into something that is at times quite evocative. There are moments however where it feels more uncoordinated, less refined, and unfortunately it is these points that prevent the record becoming the disarming gem it promises at times to be.

Overall, this is an impressively diverse set of tracks, Evelyn has demonstrated his capability of working in a myriad of genres with a number of collaborators, yet in its entirety, the record feels slightly lost.

New probably won’t reverse the malaise that his public profile is slowly suffering in Britain, but it’s enjoyable fare all the same.

For now though, things are still at the experimental stage.

Through a well suited use of room mics, live tracking and the odd vocal take from Gano’s demos making the cut, Jeff Hamilton and the band have successfully fuelled We Can Do Anything with the scruffy-but-vibrant spontaneity that made all their earlier records the much loved works they are.

While it’s a shame Radiohead and Bowie in the flesh couldn’t make it to the sessions, Gabriel’s concept fulfills its original intention: to show everyone a little appreciation and respect, even if the end result comes out a butcher shop’s tribute to a man whose melodic craftsmanship is beyond approximation.

Though Mount Ninji and Da Nice Time Kid is a far from perfect record, it proves that Die Antwoord have still got life in them yet, despite the recent hyperbole.

Wrong Creatures has just enough of what made BRMC right, and a few tantalisingly brief flourishes to boot, but it's a balance that can only be struck for so long.

It’s the record’s most easy-to-appreciate moment, but whether there’s enough to the rest of it to ensure its makers aren’t soon to be forgotten remains to be seen.

Green Lanes is rooted in it's own moment, passing without much incident, shining brief, but bright, and remaining charming.

There’s a sense of exhaustion in Spectre, but it’s not an exhaustion with irony and a refuge in po-faced sloganeering. Rather, Laibach dramatise the exhausted nature of a political movement that seems unable to do anything other than follow the lines laid out for it by the social order it claims to oppose, or take refuge in a vague utopianism.

Although his impressions of Sinatra give an insight into the music of his formative years and remind of the beauty and genius of that era, they are unlikely to appeal very far beyond hardcore Dylan fans.

As introductions go, We Are Nots is a sharp gut punch of a debut LP and certainly merits attention.

Ultimately Need To Feel Your Love is an unashamedly retro flavoured affair, but it's one that’s worth tasting.

There are a few outright duds on the record.... Hopefully the next NxWorries LP sees .Paak challenging himself a bit more, because the duo have the talent to put out a truly transcendent record.

Dean Wareham is an album that sees both of its key players growing in stature as it progresses; I could take or leave the first half, but the second is a delight.

Ultra Mono is an enjoyable but ideologically confused record and one in which some of IDLES best material must compensate for some of their worst.

Coomes wouldn't have the length career he's had if he wasn't a gifted songwriter, and hopefully if he puts out another solo album he can find a better balance between good weird and gratuitous weird.

He goes some way to making amends with some of his most endearing lyrics yet on You’re Welcome.

Need Your Light is a heck of a lot of fun while it lasts and, though there’s little to make you crawl back to it time and time again, it has that same appeal of flicking through a photo album and getting the rush of nostalgia for times long gone and, for that alone, it’s worth something.

On the whole, Careless People could do with a bit more weirdness.

For all its dense silliness, Music For Insomniacs really is quite a genuinely discomfiting experience.

Throughout, Ryder’s ever present lyrical wit is as sharp as it has ever been, but alas ultimately this album never matches his creative heights.