An entrancing, accomplished, and often uplifting record that will be heralded by the time the semi-tropics of a British summer arrive. A triumphant return.

Lithium Burns is a far too well crafted and assuredly performed record for a debut album.

Although as a whole Farmer’s Corner might lack a little of the respective earthiness and girth of more strictly acoustic and more amplified Wooden Wand releases, it achieves the clever feat of traversing a wide range of territory whilst sustaining the feeling of reclining comfortably in one location.

Ultimately, although Into Forever might not quite hit the same consistent heights as the meticulously-crafted Modular Living, it’s still a respectable and forward moving addition to the Eat Light Become Lights canon in own right.

Mark the musical prowess of individual band members as key to fragile moments, nuances and nods to a variety of other styles: country twangs and slides, soul, classical, punk, funk, and even, blue-grass.

The self-produced LP is a stimulating listen with some compelling lo-fi sonic tricks employed with little need for mainstream approval.

Whilst the front-end and middle of the collection may take some repeat spins to fully earn affection, the two six minute epics that conclude proceedings are unquestionable gems from the first airing.

They have indeed created an album that is ultimately rewarding and full of musical promise.

The Guided By Voices record making machine is in finely-tuned condition for the vast bulk of the Motivational Jumpsuit, keeping the gang of veterans on the reunion road without any embarrassment.

Inevitably, this strand of the release contains more obstacles for those unable to cope with the bedroom-birthed murkiness of the album as a whole. However, with some fine-tuning this less guitar-centric side of Keel Her could rise more positively to the fore in future.

Given the wider reach and greater ambition at play, Trouble is indeed a vastly improved Hospitality studio set. Admittedly, the album could have done with more a few more truly standouts statements.

Big World can be counted on to deliver a handful of jangly ditties and ho-hum, dreary interludes that don’t demand much from the listener beyond a slow drag on a cigarette while it spins in the background.

Mogwai’s newest offering, Rave Tapes, is a brooding masterpiece of a record.

A transitional yet still solid standalone long-player in short.

Taken as a whole, Little Sand Box may initially feel a tad overwhelming but in actuality it makes understanding Gelb’s solo records far less arduous due to its curatorial context-setting (which includes bonus tracks and informative sleeve notes). Moreover, it upholds Gelb’s vocation as the sociable solo journeyman as being equal in stature to his role as a veteran band leader.

The result is slightly overlong and occasionally repetitive, but it’s also a determined sounding reappraisal of the abilities of the three musicians and also an album that could slide unnoticed into the myriad of Indie releases of the last decade, raising only one or two significant ripples as it does so.

Sumie is not a record for all times, but when the moment strikes, it will deliver--with disarming simplicity--an intoxicating mixture of purity and potency.

It is refreshing to meander through the songs without any clear lines to cling onto or boxes to fit it in.

Nothing is Real is an eleven-song effort that showcases Crystal Antlers with a tighter outfit and in turn, a tighter release.

There’s no lack of stride here, in fact the entire scope of Reflektor and its magnificent way of sucking you into its entire ride is downright remarkable.

Given its largely austere terrain and relatively unvaried inclines, Peace On Venus is not ultimately a Bardo Pond album that lends itself to easy traversing. However, it still confidently captures a group holding its own against latter-day and more voguish heavy-psychedelic peddlers.

Perhaps the only thing missing to complete the utterly charming and enveloping experience of I’m A Dreamer is being able to play it on a crackly gramophone with a shot of prohibition-era moonshine to sup on.

Poliça may have more to offer, especially if they can branch out from a blueprint that they rightly feel very comfortable with, but for the time being Shulasmith is a finely executed and thematically and emotionally rich record.

As a whole this album evokes plenty of 80’s punk/hardcore styles, sex, drugs and rock and roll anthems and the always-welcomed unexpectedness that Moore seems to always supply us with.

Wareham delivers Emancipated Hearts through a dark yet dreamy fog, honouring his past pedigree as well as finding fresh dimensions for his songcraft in the process.

There is a hardy amount of sweet material on Let’s Be Still and it is a perfect accompaniment to a morning sunrise or a low-key soirée in the woods.

Whilst overall Chatma may lack some of the rousing freshness that made its two predecessors such heartfelt pleasures, it still respectably sustains the Tamikrest soul in all its nomadic questing.

It’s a bit of a tightrope walk for any female rock stars though, retaining femininity while cranking up the amps and pushing the blues rock envelope right to the edge of the table, but Deap Vally sound and look like they know exactly what they’re about.