The unerringly loyal will find enough here to sate a hunger for anthemic bobbins drenched in atmospheric production, but there’s little to match the handful of magical songs for which he is known.

Her history and significance is rooted in rebellion--but that’s easy to overlook with a record this diluted.

Unfortunately their laudable desire to sound like the future rather than the past seems to have backfired, leaving ‘Paradise' a crop of good ideas that wear quickly on the ears. On the plus side this overly polished sound might help convert at least a few godforsaken You Me at Six fans onto real punk (that is, if real punk will have them).

Views packs much less of a political punch than Bey’s must-hear epic, and at 20 tracks, Aubrey for the most part provides a rather overweight and lethargic waltz through his musical comfort zone.

Pity Sex may have taken few risks to make a breakthrough album and they’re hardly re-inventing the wheel, but White Hot Moon is a solid effort and a worthy follow-up to debut ‘Feast Of Love’.

Considering the lucid, poignant albums to come to fruition from cabin writing retreats (Bon Iver’s ‘For Emma, Forever Ago’, Bruce Springsteen’s ‘Nebraska’ etc.)--Standards is an album that is almost completely devoid of such clarity and space.

Distortland may not see them return to the genius pop level they had up until 2003's ‘Welcome To The Monkey House’. But it is much closer.

This album works best when those ideas are allowed to flourish and persist. When the arrangements get too embellished and full, they veer too far away from what makes Carpenter’s economical gestures so enduring, relying too heavily on virtuosity for comfort.

Hold/Still conjures up the existential mood of floating in deep space. Lonely--but also out of this world.

Despite the vast flavours Bibio is presenting throughout this record, so much of the quality production is slighted by tracing the same predictable frequencies and manoeuvres as so many servile songwriters leagues below have made prospering careers out of.

RJD2 has made a bold statement with Dame Fortune but sadly one lacking in much resonance.

As debut offerings often go, there’s a fervent desire on Mind of Mine to stretch so far and wide that the cohesiveness of the record is lumbered as a result. The tracklist could have been refined to ten good tracks (most of which are on the bonus edition).

Commendably still opting for spontaneity after all these years, the lads have whittled down some dance-tinged jams into workable songs and the result is an LP that, while unfocused, still has plenty of drive and energy.

If imperfection is what Baauer was looking for, then he has succeeded; but that doesn’t resolve the disappointment with what could have been a brilliant album.

It remains a fun and enjoyable pop record, even if its creators do seem more reluctant than ever to venture from their well established comfort zones.

A new chapter for the band perhaps, which may lead to some great results in the future. But whittle away the highlights and you realise Grasque perhaps works better as a great EP.

We get a less focused effort, with peaks and troughs in its quality. Yet the best tracks off the album are better than any of the band’s previous work. It’s just a shame that the weaker songs fall below the standard The 1975 set for themselves.

On occasions it’s a disappointing walk through ‘hardcore by numbers’ routines peppered in clever imagery and breakneck instrumentation.

So long as you can tolerate the musical hopscotch that a Barry Adamson album always represents, Know Where To Run is probably as good an introduction to this peripatetic musician as you're ever likely to need. Just make sure to expect the unexpected.

Macklemore remains unsure of himself throughout, lacking the rapping skills and natural charisma needed to get things onto a surer footing. In the end, it’s a sadly fitting album title.

When it’s good, it’s very, very good, but for most of the time it’s really quite bland.

At times you wish their sound was edgier, that they'd go in the direction of their zanier peers Hot Chip and BadBadNotGood. Despite that minor criticism, their unique, funky take on pop is rarely less than fascinating.

A record that has moments of brilliance but by virtue of trying to be a novelty record, actually comes closer to being a rehash of their previous work.

Begin may be more of a reverential piece of art than a novel creation, but there is enough substance here to surmise Lion Babe’s future promise.

This is electronic music both messy and menacing. Listen if you dare.

While one half of Phase sounds complete and polished, the other sounds unfinished, and unsteady. But the songwriting quality of the better cuts and the raw talent that underpins their delivery brings a fire to the record.

While sweetened by a potent handful of emphatic guitar romps, DIIV’s latest record quickly overstays its welcome, and ultimately would do well to be remembered as more than just a watered-down collection of indie rock songs.

A band mentality may of allowed the material to work some new ground but as a solo project we’ve a dense collection all sticking to one vision. One to dip into when the storm clouds are approaching.