'Blogging' opens the album on a high, with Graham Lewis' instantly recognisable bass guitar locking into a four-to-the-floor disco groove between Robert Grey's drums and squelchy synth stabs, rewriting the Bible using a contemporary, internet-generation terminology of "Google style maps", "Amazon Wishlist" and "Blackberry Hedgefunds." 'Shifting' similarly applies the language of espionage and global politics to the end of a relationship, over a melodic, summery sway that nevertheless maintains the band's customary sense of distance.

It presents a suitably enchanting (and at just thirty-three minutes, bracingly concise) expansion of the musical paths that Weaver has followed over the last twelve years, ever since The Fallen By Watch Bird reinvented her as a sonic explorer as well as a folk singer.

These songs will do very nicely, thanks, as reassurance that Gallagher can still deliver evocative and memorable tunes.

Air feels like a swan song for a gorgeous world in peril.

A terrific follow-up Mogwai’s No.1 smash.

Nisennenmondai will fill your head with strange, billowing thoughts as their compositions sprint towards infinity. Approached in the correct spirit--principally an understanding that this is music that will ask questions rather than provide answers--their conjurings are irresistible.

Phased bottleneck guitars, Rhodes pianos, basses and synths lay a solid foundation, each instrument perfectly balanced with the other, though keeping a distinguishable part in the harmony, giving the songs a layered and complex structure never overdone or taken too far as Cohen croons on top.

Polwart’s inventiveness is unfettered on Laws Of Motion, but the result is not only musically and instrumentally rich, but uncommonly focused. Music for our times.

On the Water is a 'love album', but much more than that--seldom has a long player narrated so fluidly, consummately and lucidly, a journey of self-realization.

At the moment, the diversity on display here feels like something to be treasured rather than wished into oblivion.

Aside from sonics, the almost obsessive way in which the lyrical themes are fleshed out is another way in which this album is delightfully skewed.

Dead doesn't so much kill Spectres' songs with these remixes as reanimate them and turn them loose on their creators, and the world.

By far the most approachable Liars record in years. While there's a lyrical focus on looking inward and notions of personal development, inspired in part by Andrew's recent exploration of microdosing psylocybin, it's less insular and abstract than the previous record.

There is nothing new here, nothing especially innovative either. It’s just an album that consistently hits its target in a magnetic, mesmerizing way, and one that if you let it will swallow you whole.

Across seven songs, she builds an intimate ecosystem of sound: an act of re-inhabiting the body through vocal layering, breath and harmony.

Wanderer, although not explicitly confrontational, subtly undermines this longstanding and limited perception of What Cat Power Is. Marshall herself sits in the producer’s seat, and gone is the gloss of 2012’s Sun; these 11 songs are stripped back to the sparse bones of piano, guitar and that distinctive, smoky, Southern States voice.

Seasons of Your Day is a no-frills, no-fuss album from a band cocooned in their own impenetrable dreamworld, untouched by the passage of time.

Whether this album’s your first insight into Prison, or you’re a die-hard fan, on Downstate, the band hooks listeners in with a unique compilation of progressive stoner rock songs.

The flawless tracks on Gandadiko roll together with the ease of a musician at his best. The resilient message of Samba's lyrics in the face of adversity is ably backed up by the sonic power of the music with a confident hypnotic flow throughout.

Above all, it represents a bold, sensorily majestic step in the right direction by an artist no longer content to tread water.

Insides mostly works pretty damn well, and will certainly appeal to fans yearning for the good times hinted at all those years ago.

He's in playful mood and the tunes certainly don't suffer as a result.

Musically the album is on-point and lyrically it's prone to Kelly's customary laugh-out-loud clunkiness. Despite all that, though, Kelly has made another really great album.

Visions is a more focused album than the spaced-out Halfaxa or the disparate Geidi Primes but one of the key charms of Grimes' sound is its unforcedness.

There’s a universality to More which benefits from Cocker’s inimitable, offbeat perspective.

It's full of memorable lines and nagging hooks, but also the sense of something ungraspable, resistant to easy interpretation.

On Treasure House they find an impressive balance: classical, symphonic music melds with garage and post-punk, giving credence to the cliché that opposites attract, outstanding in its complex sounds and arrangements.

The music rewards multiple listens, with different emotional subtleties emerging in each one.