You never feel as if Wooden Aquarium lets up, and whether that's something that the band have picked up from having to cram as many songs as possible into their quick-fire live sets or just a nod to their long-held influences, it works very well indeed.

At Best Cuckold is much like the autumnal vibe it tries to project in that, like autumn, you don't mind its existence but you kind of just want to go back to that excellent summer again.

What it sometimes lacks in immediacy and depth it makes up for in a number of moments of genuine transcendent beauty. Not the definite article then, but increasingly the real deal.

The differences are subtle, and calculated steps as opposed to humongous leaps, but they achieve bright results--it's like the relationship between butterflies and hurricanes.

Overall, The Dew Last An Hour is a solid debut.... it's all been done before.

This is indeed an astonishing and absolutely infectious debut album: the urgency that each and every track is communicated with makes even the smallest detail surface as necessary and never misplaced.

Junto holds few surprises and its not the strongest album to sit in their catalogue, but it is reassuring to know that the boys are still making the music they love for a global dance audience.

Castanets manage to keep those raw influences in sight, whilst tweaking and twisting them into something different, and at times intriguingly strange.

Yours Truly kept you singing until the moon shined and My Everything will make you want to dance until the sun comes up.

It's pleasing to discover that, even when taking his time, Ty Segall is still able to deliver the magic of spontaneity and urgency that was scorched across his previous albums.

The most vital strand of Sparks, probably, is its quality.

Even if they might not be able to quite recreate the same magic that they did on their early albums, The New Pornographers still behold a wealth of talent, and when it comes together just right--as it does a fair number of times on Brill Bruisers--the result is truly triumphant.

It is worth a listen but won't hang around in the memory for long, which is not what we've come to expect from a legend like this.

Being is a bit fragmented, and purposefully so.

Electric Würms as a whole: cool and weird with some great moments, but little structure or direction.

It feels less like album and more like a smorgasbord of everything Kimbra loves, and not in a bad way at all.

When The Cellar Children See the Light of Day is an excellent record, and one which reinforces the role artists like Mirel Wagner and her like can still have in a modern music setting.

An album filled with songs that seem unable to grab attention.

The handful of traditional band tracks that make the cut are a mixed bag.... On the whole, though, I was pleasantly surprised by Beyond Clueless; it's first of all proved Summer Camp's musical talent beyond doubt, by taking them in a direction so far removed from what they've been doing so far, and secondly lends them a little substance and credibility.

It builds upon the psych-folk elements of Dan Reeves' first project, but delivers them in a way that leaves you at the mercy of their power.

Their latest adds a number of new facets to their performance, without diluting what makes their reality any less romantic.

The slow pacing of the tracks, particularly the likes of 'Feet of Clay', 'Mister Skeleton' and 'Secrets of the Earth', are almost meditative. Richly detailed, so you're constantly finding new sounds and curiosities, but not so busy as to draw too much attention away from the trip.

You don't have to be a strict devotee of the R&B underground genre to realise that this is a great album. The sound is her own, and she's capable of making an album work as an album rather than just a collection of songs.

Ten tracks of beer-soaked bar-floor bliss, Television Man sweats through with an octane of badassery that's hard to come by these days. And while it's far from album of the year material, it probably is one of the best rock 'n roll recordings to bless the scene in a long time.

Not so much breaking up with old ways of thinking as redefining and refining them, Bear In Heaven have gone back to what they do best.

Far from diving deeper into the bleak, sonic maelstrom that has characterised most of their work, Pe'ahi is their most open, emotional record to date.

These Days... is a messy album: half completely unimpressive and half brilliant; botched skits; combined songs and an occasional identity crisis make judging the album as a cohesive whole very difficult indeed.

As with all instrumental rock, Forgetting The Present is hugely evocative and powerful.