The question of whether BRAIDS will return or not melts away in this deeply personal insight into Blue Hawaii's emotional and physical connections with one another.

Soaring and swooping in all the right places, there's no denying the gorgeous ethereal shimmer and dizzying demonstrative pull of these songs.

Despite the songs' far-off beginnings, Change Becomes Us is like an aggressive, steroid-pumped continuation of the band's excellent 2011 album Red Barked Tree, a testament to the band's consistent faithfulness to the key signatures of ice-sheet psychedelia and jackhammer punk.

Retro styling contextualises Love and Devotion and, crucially, the album's story is delivered with an emotional heft that many current producers aspiring to hypermodernity would do well to note.

If Mason’s last album Boys Outside was a window on his struggles with mental ill-health, Monkey Minds moves from micro to macro as he harnesses his strong sense of social justice, while continuing to hone the crisp electronics that so perfectly soundtrack his ghostly, exhortatory vocals.

The Men may not be here to change rock history but at the very least they deserve serious recognition for the fact that they keep doing exactly what they want, and that it continues to be as honest and as shamelessly exhilarating as the best rock music always should be.

Unfortunately, with an appropriately filmic, best-part's-in-the-trailer irony, it seems like Timberlake gave away too much by making 'Suit & Tie' the first glimpse of the record. From hereon in, it's a fairly dull affair.

They've arrived at a romantic, odd, ambitious pop record that eschews musical theatricality for punchy, 40-something's take on the complexity of love from the view--and this is why it works--of one who is still, at heart, an incurable and incorrigible teenage romantic

Pearl Mystic is the best British psychedelic album since the 1990s; maybe more than that.

John Grant's songs can be characterised by extreme restlessness and the state of suffering mental and physical discomfort within one's being. The irony and often confronting honesty he brings to these problems ensure Pale Green Ghosts is extremely engaging and often engrossing. But Queen of Denmark it is not.

Far more than a collection of club tracks, it's an elegant, fully realised narrative.

Evidence is an impressive addition to their existing body of work.

So what you have is an album that's very recognisably Ed; the Steve Gullick photography, the tipsy melancholy and romance, the ballads... but without the need for too many frills it sounds complete, nine gorgeous songs that sit beautifully together.

Prurient's Through The Window, a three-cut techno tour-de-force released this month on the Blackest Ever Black imprint, is at once limiting and liberating.

There is humour--albeit dark--throughout this precious, timeless album.

With the soundtrack to Les Revenants, they have created a work of aural tension; a masterclass in how implied threat is far more effective than a million scary monsters.

Fans certainly won't be bowled over by the innovation on offer, but as a refinement of their sound it is the ne plus ultra Autechre album, honed and executed to perfection with only a few drifty moments that suggest it could have been cut down to a single LP.

It's not a perfect record, but then you wouldn't want it to be--the charm is the energy and room to grow here.

So more than half the album is fantastic, and the rest is very, very strong.

What Long Island captures is the warm sound of the room in full flow--it's a live album, really, recorded in a studio but improvised on the spot.

Not that The Messenger solely ransacks the past, though: conversely, it's the clunkier, more ham-fisted retro fodder that constitute the main misfires, especially lyrically.... But when he pushes things forward, everything begins to glitter.

Iceage's You're Nothing is one of the most exciting, open-minded pop punk (not THAT sort) albums I've heard in years.

It's the first great guitar album of the year--stimulating, idiosyncratic, occasionally challenging, but most importantly, jam-packed full of proper tunes.

Even without the cushy padding of Welcome to: Our House's clutch of Alex da Kid, AraabMuzik, and Hit-Boy beats, No Love Lost predictably sounds an awful lot like everything else on the radio.

As ever with Yorke's work, a strong desire not to get stuck in a rut results in a few experiments that don't quite pay off, but largely, AMOK is a slender, admirable record well worth investigating.

Dutch Tvashar Plumes is dominated by exquisitely expressive forms of abstract techno.

Intermittently enjoyable, Wonderful, Glorious is unmistakably the work of Eels but unlike previous and successful meditations, their tenth album frequently feels like well-honed schtick rather than a worthwhile insight.

Out Of Touch represents a steady evolution of a band, and while you sense they've still not made a truly great album, the Uncles pack a sturdy punch on their most focused album yet.