The listener is never really on terra firma when ambling through the elusive foothills of Range of Light, but every fluctuating composition and shift in mood makes for a refreshing experience spin after spin on a record that could so easily be entangled and mired in its own instrumental mastery.

While those individual songs are great, they generate the urge to listen to the whole record in its entirety which, in the end, may not be as healthy and carefree as the title and arrangements would have us believe.

At times the record’s pleasantness feels forced, part of a calculated game plan. But at its best, Out Among The Stars is a gentle reminder of how sweet the everyman missives of the Man In Black could be.

It combines Molina’s hardcore background with jangling melody perfectly at times, and I wish each song was longer.

Not for a long time have I listened to something that so delights in its lack of abandon; their name might be uninspiring, but Cloud Nothings’ output is clearly anything but.

There are a couple of great tracks, but a little too often you’ll find that it isn’t Norman Wisdom, Johnny, Joey or Dee Dee, but musical déjà vu that these dreams are made of.

A peerless and affecting album, from start line to finish.

It lacks some of the first record’s energy and virtuosity. However, Two remains a joyous listen considering how little chance there was of it even existing a few years ago.

New Gods is an unusually good album.

It’s not that the album is particularly any shorter than any other album – clocking in at around 40 minutes--it’s that it’s so tightly-packed with such consistently good content and is so musically pithy, that you just can’t ever really get enough out of it.

A glimpse at the album cover for Seer, a severe black circle surrounded by a chaos of stars and glimmers, betrays the album’s chief theme: moments of symmetry floating in space.

Singles is an effortless wonder. Each and every track runs its course avoiding any pitfalls.

The boisterous new record is filled with plenty of raucous glimpses of what has beat at the unsteady creative heart of this notoriously dubious band for over 15 unpredictable years.

Croll has some great, great tunes but they so often artfully distract from the rest of his approach, which can often be minimal, and lacking in effort.

Awake isn’t without grip or feeling, it’s just deft, and I’ve got an awful lot of time for something that picks me up whilst being so easy to listen to and so hard to forget.

Despite Daughter of Everything’s brief runtime, its sheer number of tracks and subgenre bending lend it a sprawling quality, not unlike Robert Pollard.

La Luz excel when they commit to the way the songs of that era worked, rather than settling for the aura or the pleasant, used-vinyl memories of it all.

Although the urge for transformation is commendable, sometimes a change isn’t quite as good as a rest.

Blonde is a crushingly unoriginal piece of work, weirdly proud of its derivative nature, and anybody who wanted to listen to this kind of album could easily find a raft of better records in the last few years alone.

It’s a unique record, for sure, and one that deserves at least some of your time.

Sometimes doing what comes naturally is as big a risk as attempting to do something outside of your comfort zone, and that gamble paid off this time for Tokyo Police Club.

The songs are much more complex and nuanced than one might expect on first listen and, like most good music, it is an album that deserves deeper comprehension.

The more reflective moments on the album are some of the best.

If you persevere, it’s an LP that will reveal it’s creamy goodness in due time. You’ve got to wine’n'dine it, not just expect to jump into bed.

An admirably well-balanced attempt by Drew to really strike out on his own.

Sisyphus is a tragic waste of a vivid storyteller.

Although he doesn’t offer the genre anything noticeably new, he’s more than capable to keep the momentum going over a long player.

Content wise, Glow is everything you could want from a dance artist’s debut album. It’s produced well, it’s cheeky in parts, dark and suggestive in others and varied enough in regards to genre.