Welcome To Sideways sits comfortably amongst older material, but is more regressive than revolutionary.

Although this album does replicate almost everything they’ve created it has that sense of maturity about it, showing that over the sixteen years they’ve moved on from their rebellious teen stage.

Lady Wood proves Tove Lo is one of the more interesting characters in what is often a personality-less genre, but unfortunately, her unique perspective is diluted by fairly humdrum electro-pop production.

It’s an accomplished if somewhat safe set of songs; a JoJo on the cusp of finding her range.

You can't help but feel that the teasing at euphoria on Slow Knife would be a little less frustrating if the thing were allowed to crescendo further, and for some of that drumwork to be incorporated accordingly.

There are sludgy, down-tuned power chords, there are whiny lyrics about how life is constantly unfair (reminder: Korn frontman Jonathan Davis is 45 years old), there is even that vocal tic where Davis sort of cackles like a disturbed demon.

Every Now And Then takes the form of a transcendental equivalent of the longest summer. Wavelengths stretch leaving you feeling worked over, fatigued and ready for a taste of something new.

As a whole the LP’s similar tempos and approach cause the whole thing to float by like a long-lost memory, nice when you’ve clasped on to it but soon it’ll be running through your fingers and out of sight.

Head Carrier is far from triumphant, it’s by no means a failure.

One for the fanatical only.

There simply isn’t much to latch on to here, and certainly nothing to suggest that Still Corners aren’t completely out of ideas.

The spark of unpredictability that defined his previous records is sadly lacking.

AIM may be not the magnum opus that Mathangi Arulpragasam is capable of, but the music world would be a good deal less colourful and quirky without her in it.

On this record Leftwich has managed to turn tragedy into uplift using a consistent sonic formula.

Glass Animals should definitely continue tinkering with their sound; they just haven’t yet earnt the right to full reinvention yet.

Foreverland embraces the clichés and largely follows a formula. Certain subject matter and song titles perpetuate a particular illusion and the middle of the road radio play has trickled in according to plan.

There’s still a fair amount of self indulgence, and the rare occasion on which you wish he’d stuck to the old habit of micro length tracks (‘HER’ being one such example), but on the whole it’s a well selected body of work.

Between Waves is an album created by a man who knows what he’s doing; and that’s the problem. He could create satisfactory albums till the end of days, but he’ll need to rip up the rulebook if he’s to grab people’s attention in this fickle age.

While by no means poor, this album does little to advance the reputation he has already secured, as one of the UK’s most reliable rap suppliers.

The backbone is Allen’s afrobeat vibe, on top of which ten Haitian percussionists have piled on the voodoo grooves and chants. Pretty krautrockarama.

[Patience] boasts several colourless, uninspired tracks.

He should be commended for going light on the MC features--the bluntly-titled ‘Grime’ is proof enough that he can hold his own on a beat.

The Dreaming Room is an enormously frustrating record, as Mvula clearly has it in her to be an incredible artist. But at this point in her career, she remains a orchestra in need of a conductor.

This album demonstrates that the desire disappeared long ago and that they were simply prolonging their career to delay the inevitable. For Hot Hot Heat, the fire has definitely gone out.

This album unfortunately lacks the depth of both the Mediterranean and the Pacific.

The departure comes with tracks like ‘The Bee’, itself a pastiche of the trip-hop genre, while tracks like ‘Melifer’ fuse the distinctive Plaid sound with pretty Balearic guitar melodies to keep things interesting.

The frustration bubbles under the surface for the listener, that, competent and effecting as this album is, it could have been so much more. Here’s to next time.

There's parts of On Desire that feel all too familiar, and there's parts that simply don't work. For every negative though there's a melody or lyric that makes it shine, and for that, the band are worth sticking with, at least for the time being.